‘The Spring is The Autumn’

In ‘Henriette Wyeth: Scenes from a painter’s life’ (from A Certain Climate, Wesleyan University Press, Middletown, 1988, pp. 164) Paul Horgan makes  note of, and subsequently quotes Wyeth on, the wellsprings of her work: Ideas added to feeling, then, inform both her still lifes and portraits, and the most constant impulse is the desire to recordContinue reading “‘The Spring is The Autumn’”

Nick Drake’s ‘At the Chime of a City Clock’ and Urban Melancholia

I discovered Nick Drake late, very late. Back in 2007, Scott Dexter and I were busy dealing with the release of our book Decoding Liberation: The Promise of Free and Open Source Software; mainly, this involved engaging in some spirited discussions online with other folks interested in free software, the creative commons, free culture, andContinue reading “Nick Drake’s ‘At the Chime of a City Clock’ and Urban Melancholia”

Lorin Stein on Ben Lerner’s Adam: An Aspiring Poet’s Worries

In reviewing Ben Lerner’s novel Leaving the Atocha Station (“The White Machine of Life”, New York Review of Books, December 8 2011, Vol 58, Number 19), Lorin Stein notes that Adam, the novel’s central character, is “a poet who doesn’t have much feeling for poetry, for art in general.” And this poet is confronted aContinue reading “Lorin Stein on Ben Lerner’s Adam: An Aspiring Poet’s Worries”

Milton’s Satan, Heaven and Hell, And The Mind

A few posts ago, in writing about the detritus that can be found on professor’s office doors, I had recounted a little self-indulgent story about first finding Cavafy’s The City. Today, I want to point you to another ‘found’ poem–more accurately, a fragment–located, not on an office door but rather, in a budding poet’s workspace.Continue reading “Milton’s Satan, Heaven and Hell, And The Mind”

Ross Douthat, Sophistry, and Getting Philip Larkin Wrong

Folks familiar with Ross Douthat’s writing over at the New York Times should be well clued-on to his style, which produces bits of meandering sophistry that include a sentence or two toward the end giving away the game. In those sentences, Douthat reveals the tension of maintaining the appearance of a sophisticated intellectual conservative isContinue reading “Ross Douthat, Sophistry, and Getting Philip Larkin Wrong”