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Feb. 1st, 2014
The 266th Vicar of Jesus Christ (Part 3)
Feb. 1st, 2014 09:33 amIn this excerpt, Mr. Binelli deals with the issue of what to make of the stir and excitement of what the new pope stands for. Is he really a change agent?
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Saturday Evening
Feb. 1st, 2014 06:25 pmI was feeling a little uptight with myself, because I wanted to finalize and print out another batch of entries for the Three Journal today and it’s getting late. That’s what I get for fitting in an extra wank today. However, it occurs to me that tomorrow is Super Bowl Sunday, which means I will have to give up the big room early. Since am going to have all that extra time at the other side of the house and with the office, I may as well wait until tomorrow.
Understanding Robert Frost (Part 1)
Feb. 1st, 2014 07:19 pmRobert Frost has often been somewhat condescended to as a rather simple poet with his rhyming songs. However, as Mr. Kirsch brings out in his essay on the poet, Frost's poetry was hardly juvenile and was even often quite dark. Frost just made poetry look like child's play. His language was so plain and his lines looked so effortless. But try to write a poem like his, and you will see that there was powerful magic in his verses.
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And in fact, the more closely one reads Frost’s poetry, the more incredible it becomes that he was ever taken as an anodyne Yankee poet, or that his profound bleakness should be considered suitable reading for children. Many of his best poems abound with images of death, disappearance, suicide, loneliness, and futility.
The critic Lionel Trilling put his finger on the essence of Frost’s art when, at a dinner celebrating the poet’s eighty-fifth birthday in 1959, he made a famous speech describing Frost as “a terrifying poet.” Americans, Trilling said, tended to regard Frost as “virtually a symbol of America…not unlike an articulate…Bald Eagle,” when in fact his genius lay in “the representation of the terrible actualities of life.”
-- Adam Kirsch at Harvard Magazine
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And in fact, the more closely one reads Frost’s poetry, the more incredible it becomes that he was ever taken as an anodyne Yankee poet, or that his profound bleakness should be considered suitable reading for children. Many of his best poems abound with images of death, disappearance, suicide, loneliness, and futility.
The critic Lionel Trilling put his finger on the essence of Frost’s art when, at a dinner celebrating the poet’s eighty-fifth birthday in 1959, he made a famous speech describing Frost as “a terrifying poet.” Americans, Trilling said, tended to regard Frost as “virtually a symbol of America…not unlike an articulate…Bald Eagle,” when in fact his genius lay in “the representation of the terrible actualities of life.”
-- Adam Kirsch at Harvard Magazine
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