Poetry | House of SpeakEasy NYC

Posts From Author: Poetry

Seriously Questioning… Stephen Burt

Stephen Burt is a poet, critic, and professor of English at Harvard. In 2009, his guide to reading contemporary poetry, Close Calls With Nonsense, was a finalist for the National Book Critics Circle Award. His most recent poetry collection, Belmont (Graywolf Press, 2013) is a brilliant sequence of surprising, absurdist, sexually supple verse, flush with the joys of parenthood, adventurous in its versification, unafraid of living and loving. There’s a poem about the Muppets. One’s titled “For Avril Lavigne”. Another is told from the perspective of your standard office stapler (“I have no use for a doctrine of non- / attachment, although I once / put an argument for it together”). Stephen is one of the guests at our Seriously Entertaining show When Strangers Meet at Joe’s Pub at The Public Theater on June 13. Name: Stephen Burt. Steph, in person. Sometimes also Stephanie. Age: 45, perhaps alas. Where are you from? Washington, DC. Childhood in the Maryland suburbs, but really, DC. What is your occupation? I’m a college professor. I teach people how to read and talk about poetry, except when I am teaching them how to read and talk about comic books. Title of most recent work: The Poem Is You: Sixty Contemporary American Poems and How to Read […]

The Emperor of Water Clocks

The Emperor of Water Clocks: Poems Yusef Komunyakaa Farrar, Straus and Giroux, 2015; 128pp Yusef Komunyakaa’s poems are governed by a deeply anthropological sensibility. This allows the slips of time and geography that occur in his latest majestic collection, The Emperor of Water Clocks, to reveal how human rituals and behavior repeat themselves across time and space. In “The Gold Pistol”, the language of folk tales, legends and myths evokes a sort of timeless evil: “There’s always someone who loves gold / bullion, boudoirs, & bathtubs, always / some dictator hiding in a concrete culvert / crying, Please don’t shoot, a high priest / who mastered false acts & blazonry”. In these opening lines, one’s thoughts might flit to Hitler or Saddam (“in a concrete culvert”). But Komunyakaa’s subject is another, more recent dictator: “& this is why my heart almost breaks / when a man dances with Gaddafi’s pistol / raised over his head, knowing the sun / runs to whatever shines”. What causes the poet’s heart to break is the historical inevitability (“the sun runs to whatever shines”). The military intervention in Libya, like those in Afghanistan and Iraq, may have prompted brief celebrations in some quarters, but the aftermath has proved cruel. Indeed, […]

In Heaven, Everything Is Fine

Heaven: Poems Rowan Ricardo Phillips Farrar, Straus and Giroux, 2015; 80pp Heaven, Rowan Ricardo Phillips‘s new collection, dazzles. Nominated last week for the National Book Award, it’s a playful inquiry by an imaginative poet-critic into the nature of capital-H Heaven. While its formal satisfactions derive from its subtle internal symmetries and architectonic qualities, Heaven is also continually surprising, as Phillips’s lexical invention and disruptive perceptions lend each poem a unique flavor. Flitting nimbly between Homer, Dante, and Shakespeare, from Malibu to Colorado, and with a referential field encompassing Mel Gibson, the Wu-Tang Clan, and the stage directions of Cymbeline, it’s a rich reading experience. “Who the hell’s Heaven is this?” asks Phillips in “The Empyrean”; it’s a question that echoes through the rest of the book. There are gods in Heaven for sure — Zeus, Jupiter, Apollo, the deity of the Old Testament — but there’s also an underlying tension between the notion of Heaven as a place beyond and “heaven” as a function of ekphrastic poetry. In “The Barycenter”, natural beauty becomes a kind of heaven in itself: Alpenglow ripening the mountain peaks Into rose-pink pyramids steeped in clouds. How this light, like a choir of silence, Queues in the air […]

Review: Gabriel – A Poem, by Edward Hirsch

Gabriel: A Poem by Edward Hirsch Knopf Doubleday, 2014; 96pp A Poet’s Glossary by Edward Hirsch Houghton Mifflin Harcourt, 2014; 736pp How To Read a Poem and Fall in Love With Poetry by Edward Hirsch Houghton Mifflin Harcourt, 1999; 368pp “Many of the very greatest poems seem as if they were written in blood,” Edward Hirsch once wrote. So it is with his magnificent, harrowing Gabriel (2014), a book-length poem that anatomizes Hirsch’s grief over the death in 2011, at the age of twenty-two, of his son. Gabriel is an elegy, a confession, a howl. It’s a poem steeped in literary history but also fluent in contemporary idiom and reference (the poem’s epigraph comes from a Blink-182 song). Reviewing it feels intrusive — like reviewing a eulogy. Yet I also imagine that Hirsch, always a passionate advocate for “a participatory poetics”, understood that in publishing such a personal work, each new reader would, in a sense, encounter Gabriel alive once more; the creative act of reading would have a resurrective aspect. In How To Read a Poem and Fall in Love With Poetry (1999), he wrote that “The lyric poem seeks to mesmerize time. It crosses frontiers and outwits the temporal. It seeks to defy death, coming […]

The Life and Death of the Hollywood Actress

Dark Sparkler by Amber Tamblyn Harper Perennial, 2015; 128pp “It’s not easy to write about your dead peers,” said Amber Tamblyn in an interview with Rachel Simon at Bustle published this week. “I was giving myself a lot of permissions that I normally wouldn’t… and telling myself that’s how I am going to get closer to the story, that’s how I’m going to become one with them. But I can’t write like that. It just made it even darker.” Tamblyn’s third collection of poems, Dark Sparkler, is indeed a rhapsody in black, a threnody for the victims of Hollywood. Some of these women (they’re all women) you might know: Brittany Murphy, Sharon Tate, Marilyn Monroe. Others you probably don’t. As poet Diane di Prima writes in a foreword to the book, “At some point you will begin to get curious… At that point, go to the library or search the Internet for information about any girl/woman you find yourself thinking about. Look up Peg Entwistle, Bridgette Andersen, Samantha Smith.” This, it seems, is pretty much what Tamblyn did. In eight black pages in the epilogue (the book is fabulously designed), we see what appears to be her (re)search history for the book, including (out of sequence; […]