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"Stray Thoughts on Roethke and Teaching" by Richard Hugo
The following essay by Richard Hugo appears in the book The Triggering Town: Lectures and Essays on Poetry and Writing. The following text has been transcribed from the 1992 reissued paperback edition, published by W. W. Norton & Company, Inc. Pages 27-36. Stray Thoughts on Roethke and Teaching Richard Hugo SOME OF this is from memory, twenty-five years of it, and some of it may be wrong. But I'm sure of one thing, on the first day of class in the fall quarter of 1947 he shambled into the classroom, and the awkward, almost self-degrading way he moved made me think he was dressed in "rags and rotting clothes," when actually he was probably in an expensive tailor-made suit. His addiction to bourgeois values, his compulsive need to be loved by all, but most of all the rich, was of course the obverse of the way he felt about himself. In his mind I believe he was always poor and unwashed, and he showed it when he walked. So I'm certain he wasn't poorly dressed, though I still see him that way. Then I didn't but now I do know he was frightened. "Look," in W. C. Fields-as-gangster voice, "there's too many people in here. If I had my way, I'd have nothing but young chicks, the innocent ones you can teach something." We had to submit poems and he judged. He had to weed. One girl asked if he couldn't be more definite. "You want a quick answer? Get out now." But he laughed. -
On the Day of the Dead
THE REDWOOD COAST Volume 12, Number 4 REVIEW Fall 2010 A Publication of Friends of Coast Community Library in Cooperation with the Independent Coast Observer CULTURAL STUDIES On the Day of the Dead Hilda Johnston hildren, I know you have nothing to say. Yet over and over again Cyou’ll be asked to say it. And I’m not asking you to turn your umbrella of silence inside out, the ribs poking into a five-paragraph essay; I am only asking you to write a few sentences. My head is heavy too. It’s the season. We aren’t farmers, yet we know the harvest is over—a few wisps of hay blowing over the bare fields, small birds pecking for grain. Even the dead are uneasy. That’s why we have All Hallows Eve and, in Mexico, The Day of the Dead. But this is not a gloomy holiday, as you can see by this altar. In Mexico, skeletons ride THE BIG FRESNO FAIR bicycles, play the guitar, or dress up to be married. Children eat sugar skulls deco- rated with flowers. For our altar I brought a photograph of my uncle when he was a boy with his THE BIG FRESNO FAIR horse, some tomatoes, green peppers and a beer bottle. My Uncle made Jamba- A night out with my mom and Aunt Ella laya—that’s a shrimp dish—with beer, and it’s the custom to put a favorite dish of the dead on the altar. No, they don’t eat Stephen D. Gutierrez it; the aroma is enough. -
Contributors, Books Received, Magazines Received, Back Issues, Advertisements, Back Cover
CutBank Volume 1 Issue 17 CutBank 17 Article 34 Fall 1981 Contributors, Books Received, Magazines Received, Back Issues, Advertisements, Back Cover Follow this and additional works at: https://scholarworks.umt.edu/cutbank Part of the Creative Writing Commons Let us know how access to this document benefits ou.y Recommended Citation (1981) "Contributors, Books Received, Magazines Received, Back Issues, Advertisements, Back Cover," CutBank: Vol. 1 : Iss. 17 , Article 34. Available at: https://scholarworks.umt.edu/cutbank/vol1/iss17/34 This Back Matter is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in CutBank by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. CONTRIBUTORS BRUCE BEASLEY, an M.F.A. candidate at Columbia University, has published poems recently inQuarterly West and The Southern Poetry Review. LINDA BIERDS works for Washington’s Poets-in-the-Schools Program. She has new work in theHudson Review, Black Warrior Review andPoetry Now. DINA COE lives and works in Roosevelt, New Jersey. JON DAVIS won the Connecticut Poetry Circuit Competition in 1979. He lives in Missoula and attends the University of Montana. STEVEN DOLMATZ teaches English on Lopez Island in Washington. He received the Leslie Hunt Award for poetry from Western Washington University. DENNIS M. DORNEY works as a cameraperson in Los Angeles. He also teaches a writing workshop at Chino Prison. His poems are forthcomingPequod inand Abraxas. JACK DRISCOLL teaches at the Interlochen Arts Academy. His chapbook,Refusing to Give Blood, appears inThe Ohio Review (#25). -
Palm Desert History
History Of Palm Desert John Fraim John Fraim 189 Keswick Drive New Albany, OH 43054 760-844-2595 [email protected] www.symbolism.org © 2013 – John Fraim Special Thanks To Palm Desert Historical Society & Hal Rover Brett Romer Duchess Emerson Lincoln Powers Carla Breer Howard 2 “The desert has gone a-begging for a word of praise these many years. It never had a sacred poet; it has in me only a lover … This is a land of illusions and thin air. The vision is so cleared at times that the truth itself is deceptive.” John Charles Van Dyke The Desert (1901) “The other Desert - the real Desert - is not for the eyes of the superficial observer, or the fearful soul or the cynic. It is a land, the character of which is hidden except to those who come with friendliness and understanding. To these the Desert offers rare gifts … health-giving sunshine—a sky that is studded with diamonds—a breeze that bears no poison—a landscape of pastel colors such as no artist can duplicate—thorn-covered plants which during countless ages have clung tenaciously to life through heat and drought and wind and the depredations of thirsty animals, and yet each season send forth blossoms of exquisite coloring as a symbol of courage that has triumphed over terrifying obstacles. To those who come to the Desert with friendliness, it gives friendship; to those who come with courage, it gives new strength of character. Those seeking relaxation find release from the world of man-made troubles. For those seeking beauty, the Desert offers nature’s rarest artistry. -
Poetry's Afterlife: Verse in the Digital Age / Kevin Stein
POETRY'S AFTERLIFE DIgITALCULTUREBDDKS is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Poetry's Afterlife VERSE IN THE DIGITAL AGE Kevin Stein The University of Michigan Press and The University of Michigan Library ANN ARBOR Copyright © by the University of Michigan 20IO Some rights reserved This work is licensed under the Creative Commons Attribution-Noncommercial No Derivative Works 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Published in the United States of America by The University of Michigan Press and The University of Michigan Library Manufactured in the United States of America r§ Printed on acid-free paper 2013 2012 2011 2010 4 3 2 I A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Stein, Kevin, 1954- Poetry's afterlife: verse in the digital age / Kevin Stein. p. cm. - (Digitalculturebooks) ISBN 978-0-472-07099-2 (cloth: alk. paper) - ISBN 978-0-472-05099-4 (pbk.: alk. paper) I. American poetrY-21st century-History and criticism. 2. Poetry-Appreciation United States-HistorY-2Ist century. 3. Poetry-Appreciation-United States HistorY-20th century. 4. American poetrY-20th century-History and criticism. I. Title. ps326s74 2010 811.509-dc22 ISBN 978-0-472-02670-8 (e-book) For Deb, with daisies, And for Kirsten and Joseph, who question everything. -
Contributors, Books Received, Magazines Received, Advertisements, Back Issues, About Cutbank, Back Cover
CutBank Volume 1 Issue 21 CutBank 21 Article 37 Fall 1983 Contributors, Books Received, Magazines Received, Advertisements, Back Issues, About CutBank, Back Cover Follow this and additional works at: https://scholarworks.umt.edu/cutbank Part of the Creative Writing Commons Let us know how access to this document benefits ou.y Recommended Citation (1983) "Contributors, Books Received, Magazines Received, Advertisements, Back Issues, About CutBank, Back Cover," CutBank: Vol. 1 : Iss. 21 , Article 37. Available at: https://scholarworks.umt.edu/cutbank/vol1/iss21/37 This Back Matter is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in CutBank by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. CONTRIBUTORS BRUCE BEASLEY is a native of Macon, Georgia; graduated from Oberlin College in the M.F.A. writing program at Columbia University; works as an editor at Georgia State University and his work has appeared in Quarterly West, Southern Poetry Review andColumbia: A Magazine of Poetry and Prose. JOHANNES BOBROWSKI was born in 1917 in Tilsit, East Prussia. Between 1960 and 1965, he published two books of poetry, two novels, and two collections of short stories. He died in East Berlin in 1965. SCOTT DAVIDSON grew up in Great Falls and received his M.F.A. in creative writing from the University of Montana. He lives in Missoula with his wife, Sharon, works for Montana’s Poets in the Schools program, and has received many favorable comments accompanying his rejection slips. -
A George Hitchcock Celebration
A GEORGE HITCHCOCK CELEBRATION • BLY • COLEMAN PAU-LLOSA • DIGBY • WILLARD • BERNSTEIN • GONZALEZ • HAIR KUHN • HEDGECOKE • SIPES • VASSILAKIS • LUX • SIMON KAUFMAN • ATWOOD • KAHL • KESSLER • HARMON • YORITA PETERS • ANDERSON • RUTSALA • LIPSITZ • WAYMAN • LAPPIN 2 “Caliban is hospitable to any writing which, when chewed, makes him hear music in the air.” CALIBAN Lawrence R. Smith, Editor Direct correspondence to: [email protected] Submissions to: [email protected] Front cover: LA CENA by George Hitchcock, 2002, mixed media (20 in x 16 in) The photograph on page 99 by Jim Hair All black and white collages in this issue by John Digby A SINGLE DAD ON SATURDAY by Christine Kuhn Collection of Joe Costa DREAMS OF A BENEVOLENT GOD by Christine Kuhn Collection of Nancy Barron and Associates Cover and title page design by Gary R. Smith, 1986 Typeset in Baskerville by Daniel Estrada Del Cid Hybrid Synergy, Westminster, California Lawrence R. Smith, Editor Deanne Yorita, Associate Editor Daniel Estrada Del Cid, Production and Design Edito Calibanonline is published quarterly. Viewing online is free. There is a 99 cent charge for PDF downloads. Unsolicited poetry, fiction, art, music, and short art videos welcome. Please direct to [email protected]. Copyright © Calibanonline.com, 20114 TABLE OF CONTENTS ROBERT BLY Smoke-Stained Fingers WANDA COLEMAN On Cleaning Up All These Ashes in the Sand F.H. Nettlebeck Cento RICARDO PAU-LLOSA Passion Fruit Man Lion’s Den Man Sophia Man JOHN DIGBY There Was No Great Quantity of Blood Absurdity Beets Skullman NANCY WILLARD Shedding the Human Advice to a Traveler CHARLES BERNSTEIN Sea Drift And Quiet Flows the Soane It’s Not My Bag RAY GONZALEZ I Once Knew the Black Rider The Eyes of Kenneth Rexroth The Riches They Call the Mountain Carlos CHRISTINE KUHN Dream of a Benevolent God Interrogation Fueling Up A Single Dad on Saturday A. -
Facultad De Filosofía, Letras Y Ciencias De La Educación Escuela De Lengua Y Literatura Inglesa
Universidad de Cuenca Facultad de Filosofía, Letras y Ciencias de la Educación Escuela de Lengua y Literatura Inglesa UNIVERSIDAD DE CUENCA FACULTAD DE FILOSOFÍA, LETRAS Y CIENCIAS DE LA EDUCACIÓN ESCUELA DE LENGUA Y LITERATURA INGLESA “RAYMOND CARVER’S SHORT STORIES AND THEIR INFLUENCES ON AMERICAN LITERATURE” Tesis previa a la obtención del Título de Licenciado en Ciencias de la Educación de la Especialidad de Lengua y Literatura Inglesa Autores: Ruth Elizabeth Auquilla Tama Diego Manuel Villa Orozco Director: Dr. Ion Youman 2013 1 Ruth Auquilla / Diego Villa Universidad de Cuenca Facultad de Filosofía, Letras y Ciencias de la Educación Escuela de Lengua y Literatura Inglesa ABSTRACT The present work, in which we talk about Raymond Carver’s life and stories, is important in the literary field of our city because, since Carver is one of the best and most important story writers in America, he cannot stay any longer in the unknown. Therefore, what we have done is collect information about Carver’s life and writing career and analyze this in order to comprehend why he and his work have been incredibly acclaimed in many countries. Also, how other writers have been influenced by Carver’s masterpieces is to be explained and analyzed. In order to carry out this investigation, the methods Analytic and Synthetic were required. The Analytic method helped us to study every aspect in Carver’s life that was important and relevant in his work. Moreover, the Synthetic method helped us to organize all those aspects to understand the themes and style of his stories, and also to get conclusions about them. -
Surrealist Poetics in Contemporary American Poetry
THE CATHOLIC UNIVERSITY OF AMERICA Surrealist Poetics in Contemporary American Poetry A DISSERTATION Submitted to the Faculty of the Department of English School of Arts & Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Brooks B. Lampe Washington, D.C. 2014 Surrealist Poetics in Contemporary American Poetry Brooks B. Lampe, Ph.D. Director: Ernest Suarez, Ph.D. The surrealist movement, begun in the 1920s and developed and articulated most visibly and forcefully by André Breton, has unequivocally changed American poetry, yet the nature and history of its impact until recently has not been thoroughly and consistently recounted. The panoramic range of its influence has been implicitly understood but difficult to identify partly because of the ambivalence with which it has been received by American writers and audiences. Surrealism’s call to a “systematic derangement of all the senses” has rarely existed comfortably alongside other modern poetic approaches. Nevertheless, some poets have successfully negotiated this tension and extended surrealism to the context of postmodern American culture. A critical history of surrealism’s influence on American poetry is quickly gaining momentum through the work of scholars, including Andrew Joron, Michael Skau, Charles Borkuis, David Arnold and Garrett Caples. This dissertation joins these scholars by investigating how selected American poets and poetic schools received, transformed, and transmitted surrealism in the second half of the twentieth century, especially during the mid-‘50s through the early ‘80s, when the movement’s influence in the States was rapid and most definitive. First, I summarize the impact of the surrealist movement on American poets through World War II, including Charles Henri Ford, Ezra Pound, William Carlos Williams, and Philip Lamantia, and briefly examine Julian Levy’s anthology, Surrealism (1936). -
University of Arizona Poetry Center Records Collection Number: UAPC.01
University of Arizona Poetry Center Records Collection Number: UAPC.01 Descriptive Summary Creator: University of Arizona Poetry Center Collection Name: University of Arizona Poetry Center Records Dates: 1960- Physical Description: 105 linear feet Abstract: This collection contains correspondence, administrative records, board meeting minutes, printed materials, audiovisual recordings, and scrapbooks related to the unique history of the Poetry Center and its prominent role in Southern Arizona’s literary arts landscape. “Author files” contain records and correspondence pertaining to poets such as Robert Frost, Kenneth Koch, and Allen Ginsberg. Collection Number: UAPC.01 Repository: University of Arizona Poetry Center 1508 E. Helen St. Tucson, AZ 85721 Phone: 520-626-3765 Fax: 520-621-5566 URL: http://poetry.arizona.edu Historical Note The University of Arizona Poetry Center began in 1960 as a small house and a collection of some 500 volumes of poetry, donated to the University of Arizona by poet and novelist Ruth Stephan. It has grown to house one of the most extensive collections of contemporary poetry in the United States. Since 1962, the Poetry Center has sponsored one of the nation’s earliest, longest-running, and most prestigious reading series, the Visiting Poets and Writers Reading Series, which continues to the present day. The Poetry Center also has a long history of community programming including classes and workshops, lectures, contests, youth programming, writers in residence, and poetry workshops in Arizona penitentiaries. Its leadership has included noted authors such as Richard Shelton, Alison Hawthorne Deming, and LaVerne Harrell Clark. University of Arizona Poetry Center Records UAPC.01 Page 1 of 72 Scope and Content Note This collection contains correspondence, administrative records, board meeting minutes, printed materials, audiovisual recordings, and scrapbooks related to the unique history of the Poetry Center and its prominent role in Southern Arizona’s literary arts landscape. -
Stanley Cooperman
Stanley Cooperman 1929—197 6 An Inventory of His Paper s In The Library of The University of British Columbi a Special Collections Divisio n Prepared by Cynthia Sugar s August 1984 TABLE OF CONTENTS, Introduction i . Bibliography ii . LETTERS: INCOMING 1 LETTERS : INCOMING (unknown signatures) 9 MANUSCRIPTS : POETRY 1 0 MANUSCRIPTS : POETRY, COLLECTED 31 MANUSCRIPTS : PROSE 32 MANUSCRIPTS : ESSAYS 33 MANUSCRIPTS : PLAYS 34 BIOGRAPHICAL INFORMATION 34 FINANCIAL RECORDS 35 PHOTOGRAPHS 35 PRINTED MATERIAL : Articles and Reviews by Cooperman 35 Reviews of Cooperman's Work 35 Printed Material Kept by Cooperman 36 COURSE FILES : Research Files 36 Information on Specific Courses 39 Student Papers- Essays 39 Student Papers- Poetry and Prose 41 MISCELLANY 42 TAPES 43 i. INTRODUCTION . Stanley Cooperman was born on October 22, 1929, in New York City . He received his B .A. at New York University and his Ph.D. at the University of Indiana where he taught for a number of years . He was later to hol d teaching positions at Tehran University, the University of Oregon , Hofstra University, and Simon Fraser University, where he was a pro- fessor of English from 1969—1976 . During his early university years he earned many as a journal- ist and freelance writer, taking up the writing of poetry later in hi s career . After many years of extensive travel, he finally settled i n North Vancouver with his wife, Jenifer . Together they had two child- ren: a daughter, Galila—Yael, and a son, Amichai . In the course of his teaching career he was awarded a grea t number of fellowships and grants including a Research Grant from Simon Fraser University in 1967 and two Canada Council Grants, on e in 1967 and the other in 1975 0 In his lifetime he published five books, four volumes of poetr y and one critical work, World War I and the American Novel . -
Hugo: Remembering
CutBank Volume 1 Issue 20 CutBank 20 Article 8 Spring 1983 Hugo: Remembering William W. Bevis Follow this and additional works at: https://scholarworks.umt.edu/cutbank Part of the Creative Writing Commons Let us know how access to this document benefits ou.y Recommended Citation Bevis, William W. (1983) "Hugo: Remembering," CutBank: Vol. 1 : Iss. 20 , Article 8. Available at: https://scholarworks.umt.edu/cutbank/vol1/iss20/8 This Prose is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in CutBank by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. William W. Bevis HUGO: REMEMBERING We spend our lives remembering what we love, to be sure who we are. Poets should “take a brief look at something most people ignore,” said Dick Hugo, and he must have said that partly because he felt ignored, or worthy of being ignored, not as a poet but as a man. Left with his grandparents at the age of two, sent to live with friends in Seattle at eleven and again at eighteen, he spent much of his poetic career locating and describing the dispossessed within his poetry and heart: “What endures is what we have neglected.” He wrote not so much to win his way intoour hearts as to take intohis own heart the other orphans on the block. Old men, old cars, bums, derelict towns, abandoned ranches — his poetry welcomed people and places born of human love, then left behind.