The difference between Despair
And Fear – Is like the One
Between the instant of a Wreck
And when the Wreck has been –
The Mind is smooth – no Motion
Contented as the Eye
Upon the Forehead of a Bust –
That knows – it cannot see-
Biographers note that Emily Dickinson, who died on this date in 1886, was most productive in the first half of the 1860s. Secluded within the family home in Amherst, Massachusetts (except when tending the flower garden), she turned out hundreds of poems, mostly short, striking, often astonishing — but unnoticed by the outside world; her fame came after her death, which was likely okay with her. Continue reading Emily Dickinson: An Epitaph for Today
Maybe William Logan has been waiting to unlimber his literary AR-15 on the corpus of Leonard Cohen for a long time. It sure seems like it; and now his moment has come:
“When a poet dies,” Logan writes in his New York Times review, “his publishers often hurry into print whatever scraps lie stuffed in his desk drawers or overflow his wastebasket. This is the book business at its darkest and most human, but many balance sheets have been balanced by a posthumous work or two.
Death is the moment when all eyes are upon the poet for the last time; beyond, for most harmless drudges, lies the abyss. Leonard Cohen, who died two years ago, wore many a fedora — poet, novelist, songwriter, a singer of sorts — but only the last trade, which he took up reluctantly, made him a star.
Cohen was never taken very seriously as a poet. He wasn’t much of a singer, either; but the gravelly renderings of his lyrics gradually attracted a mass audience that seemed more like a cult. . . .
Such songs now form the hoarse, moaning soundtrack to countless movies and television episodes. When a Cohen song rises from some awkward silence it’s a good bet the director has run out of ideas. The religiose sentimentality and painful growl, like a halibut with strep throat, have patched a lot of plot holes. He’ll give an emulsified version of everything the scriptwriter left unsaid.”
Continue reading Shooting the Dead: a Hitman Reviewer fills Leonard Cohen full of [Pencil] lead
From Not Without Laughter, by Langston Hughes
It’s Langston Hughes’s birthday (Feb. 1, 1902- May 22, 1967). Known primarily as a poet, Hughes was a versatile writer: by his mid-twenties he had published challenging essays in national periodicals, and two books of poetry. I’m now reading his first novel, Not Without Laughter, published in 1930, when he was 28.
This passage evokes a domestic scene in a small Kansas city, modeled on Lawrence, where Hughes spent several boyhood years. Hughes was proud of his humble roots, and the creativity it wrung from hardship, like the largely homemade blues songs by the itinerant laborer Jimboy. Here he has returned after a long absence seeking work. In Hughes’s prose, we can hear the poetry woven through it.
Continue reading Happy Birthday, Langston Hughes–Sing us a bit of your famous Blues!
To respond to the State of the Union address, we’ve invited two special Friendly commentators, who are joining us via our new astral projection uplink.
First up is our old buddy, Walter Whitman, late of Camden, New Jersey, where he settled once they named a big bridge there after him. Whitman is known as the author of the best-selling pro-marijuana polemic of all time, Leaves of Grass.
Walt — if you don’t mind me calling you that — you’ve hovered over a lot of these talkfests. So tell us: what was your reaction to what you heard tonight? Continue reading Some Quick Quaker Responses to the SOTU