Hyperallergic Weekend: Oct 13th

Beerhorst-studio-wall-320

A painting by Rick Beerhorst


The current issue of Hyperallergic Weekend has a lot of great stuff. I’ve been enjoying John Yau on Rick Beerhorst and Barry Schwabsky’s wonderfully polemical “Why I’m Not Reading Louise Glück.” In the latter, I love this sentence by Schwabsky, which begins at Point A and ends with Point Z (or rather Point X): “Glück is one of the best-known American poets, a native New Yorker who has won just about every prize and honor available — Pulitzer, National Book Critics Circle, U.S. Poet Laureate — and taught at all the famous places to be taught poetry; better still, as I’ve just learned from Wikipedia, her father helped create the X-Acto knife, a tool I’d recommend to every poet who hopes to carve more precise verses out of the thick and messy matter of our speech.”

I’m also in the mix with a review of Lytle Shaw’s Fieldworks: From Place to Site in Postwar Poetics.

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Start Suffering

“You suffer The Lime Twig like a dream. It seems to be something that is happening to you, that you want to escape from but can’t.”

– Flannery O’Connor

***

The stakes get raised again. After reading John Hawkes’s The Lime Twig I’m of a mind with Louise Glück lines from “Mock Orange”:

How can I rest?
How can I be content
when there is still
that odor in the world?

And ‘odor’ is a very apt word. I’ve never read a book where there were so many scents, so much olfactory maneuvering. Here the narrator speaks of the femme fatales sent to distract the married Michael Banks:

The smell of women–girlish, matronly–and the smell of meat sauce were the same. As soon as it spread across his plate it went to his nostrils and they might not have bothered with their clothes, with procrastination. (150)