By Carl Dennis
From the winner of the Pulitzer Prize and the Ruth Lilly Prize
The poems in Carl Dennis's new assortment Another Reason suppose that our efforts to cause with ourselves and with others approximately what concerns to us are essential to get away the merely deepest standpoint, to supply the homes we are living in with doorways and home windows. those poems enact a drama of tried persuasion, because the poet confers with himself, with intimates, and with strangers, if simply within the wish that by way of defining alterations extra accurately one should be drawn right into a actual discussion. because the poet asserts and questions his personal authority, encountering quite a lot of competing claims from different voices, we discover ourselves incorporated in a talk that deepens our inspiration of the human group.
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Extra resources for Another Reason
In this sense, the status of the mantis as a political idea (an objective) is just as important as its significance as a living thing in need of representation (an object). . on the poor’ and ‘build the new world in your eyes’. This is the structure of the poem Zukofsky summarises in the interpretation: ‘the mantis / the poor’s strength / the new world’. ’ Utopia and description are never mutually exclusive in the work, which describes its projections as the natural outgrowth of what it observes: ‘No one would be struck merely / By its ungainliness, / Having seen the thing happen’.
In the Objectivist essays, for example, music is a figure for what is tangible in a poem. In the mantis poems musical shape is a symbol of how the instrument of poetic form can animate readers. Slightly differently, music is important thematically in the early movements of “A”, where Bach comes to symbolise the relationship between aesthetic beauty, historical context and political crisis. 76 After the war the role of music becomes much more literal and exaggerated in importance. In this period Zukofsky insists not on music as a general analogy for poetry, but on poetry’s structural embodiment of specific musical forms, as words are increasingly made to imitate music phonetically.
3 It comes from what she called ‘the lost, the anonymous, the dream-singers’: myths are forgotten dreams rather than hidden qualities, and as such they are contingent and future-oriented. ’5 In sum, Rukeyser conceives of myth as a projective resource, propelling us with a unique visionary energy to seek fulfilment as a society, in a struggle retaining heroic and utopian possibility. 6 As I will outline, Rukeyser’s modernist mythopoeia is distinctive in its refusal of origin. Rukeyser’s career is an example to American poets because she so consistently put herself on the frontline of history, and yet so insisted on imaginative forms unique to poetry to explain its political power.