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Full-Text Articles in Poetry
Reinventing Language, Vowel By Colorful Vowel, Clark Lunberry
Reinventing Language, Vowel By Colorful Vowel, Clark Lunberry
Clark Lunberry
A Fable of a Fable, or “The Story of One of My Follies”: After he’d invented “the color of vowels,” regulated the “form and movement of each consonant,” the young poet then, applying his “instinctive rhythms” to the task, proudly proclaimed that he had alchemically created “a poetic language accessible, some day, to all the senses.” Notably, with his project in place, this poet, Arthur Rimbaud, tells us that he was then quick to “reserve translation rights.” This legal move on the poet’s part was perhaps thought initially necessary because, as he notes in 1873, the described synesthetic impact of …
Bodies Of Water: Somebody | Nobody (For E.D.), Clark Lunberry
Bodies Of Water: Somebody | Nobody (For E.D.), Clark Lunberry
Clark Lunberry
On a pond adjacent to the University of North Florida’s Thomas G. Carpenter Library, parts of Emily Dickinson’s well-known poem about being a “Nobody” were recently written on the water. During the fall of 2014, the familiar words of that poem’s opening line – “I’m Nobody! Who are you?” – appeared to float upon the library’s pond, reflecting vividly in the light of day (yet disappearing entirely in the dark of night). While inside the library’s large open stairway, on the tall windows that face directly out onto that pond, the first line of the poem’s second stanza – “How …
That’S The Beauty Of It, Or, Why John Ashbery Is Not A Painter, Clark Lunberry
That’S The Beauty Of It, Or, Why John Ashbery Is Not A Painter, Clark Lunberry
Clark Lunberry
The poet John Ashbery lived in Paris from roughly 1955 to 1965. It was during this period that Ashbery began writing art reviews, often examining the work of various Americans also living in Paris at this time. Among the many painters Ashbery was to review and publish about, one was the Chicago-born, Paris-based abstract expressionist Joan Mitchell and an exhibition of hers at a Paris gallery in 1964. In this essay I examine the early, more ““abstract”” poetry that Ashbery was developing during this period, thinking about it alongside the paintings of Mitchell (and, in particular, his writings about them). …