LK: When your father wrote his scholarship, was he confident? Whose order is shut inside the structure of a sentence?”[4]. Select the purchase I would call some of his essays poems. Click here. Then there is sound. EMAIL. They treated me at first as if I came from outer space because I worked in series and didn’t have a title for each poem on a page. Then, too, of how people moved on the stage, of how you blocked out a scene if you were directing it. As Howe told Lynn Keller: "with 'Thorow' I had done one scattered page and made a xerox copy and suddenly there were two lying on my desk beside each other, and it seemed to me the scattering effect was stronger if I repeated them so the image would travel across facing pages. Quartermain, Peter. But then I love that it got so scumbled here that you could hardly read it. The sea and poetry—actually for me they are one and the same. It connects to blasphemy and to the sacred for me. This essay explores the prominent settings of Susan Howe's poem "Thorow." skunking? Then I’d xerox that version, getting several copies, and then cut and paste again until I had it right. A little stone church that echoed because it was empty, the wind and the night. Robert Frank and Henry Sayre. I think they’ve enriched all of our thinking. “An Interview with Susan Howe.” With Maureen N. McLane. He and the sculptor Robert Grosvenor were obsessed by boats; they were always going off to boat shows and discussing which boats they would buy if they could. What I did was to randomly go through the book and light on something-sort of chance operation without discipline. Read your article online and download the PDF from your email or your account. Vickery, Ann. By returning to history, in this case, to Sir Humfrey Gilbert's description of the Adirondacks, Howe can recapture what history has lost. Not only is a person's proper name reflective of the complex, multivalent nature of his or her embodiment, but the proper name of a place is equally indicative of the multilayered perspectives and histories laced over it. You’re hearing something you see. It further notes her... An interview with U.S. poet and author Susan Howe about her approach to poetry and her literary career is presented. Thursday–Sunday, 12–4pm, In 1961, when Susan Howe graduated from the School of the Museum of Fine Arts Boston with a degree in painting, the big news in art was the imminent death of art, or at least the death of painterly abstraction that had come to preside. The readers’ reports backed him up; they seemed to assume there was an imminent introduction. DONATE. Something about the place; I don’t know what. Howe uses the naming power of language and subverts it: "Every name driven will be as another rivet in the machine of a universal flux" (42).
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