Say What You Will (Able Muse Book Award for Poetry)
Say What You Will
— Poems by Len Krisak
Now Available for Pre-Order from Able Muse Press
Full-length collection of original poetry from Len Krisak, now available for pre-order from Able Muse Press, Amazon, Barnes and Noble, Foyles, and other online and offline bookstores worldwide.
Measuring Prosody--Not Music
In the "you kids get off my lawn" Department for Old Fogies,
I offer up a venerable pet peeve:
How often have you heard or read (usually by its enemies), that
metrical poetry is so dull and mechanical in its treatment of
stresses that it sounds like a metronome was used to write it?
I've come across dozens of examples of this complaint through
the years, and have now decided to--finally--do something about it.
Metrics, Music, and Memory
All right, I confess: I'm a hopeless romantic and rabid fan of the great American songbook--especially the great composers and lyricists like Rodgers and Hammerstein. Color me an unrepentant geezer, but I have always been enamored of the lush beauty of the love songs in many of their musicals.
Housman as a touchstone
Still in the Touchstone mode (and blogging up to speed at a glacial pace):
A. E. Housman is a personal obsession, a poet who finds his way
into my work (and life) often enough that I should be asking rent
of the old fellow.
One of the many pieces (and how closely it comports with
Frost's "Fire and Ice") that have long held my utmost
admiration is his "Eight O'Clock":
He stood, and heard the steeple
Sprinkle the quarters on the morning town.
One, two, three, four, to market place and people
Housman as a touchstone
Touchstones
What are the poems one returns to, always taking pleasure?
Or to put it slightly differently, what poems would enjoy the
place of honor in one's Absolute Anthology (no fair including
warhorses, chestnuts, and poems one is supposed to like)?
I'd start with Frost's "Fire and Ice," for its astounding compression
and bite--a coiled spring of mostly monosyllables--snapping those
two dimeter lines in place while avoiding the risk of chiming
The Epigrammatic Power of Richar Wilbur
Another Touchstone: the utterly remarkable concision
Richard Wilbur could achieve in one brilliant metaphor.
Here is "Sleepless at Crown Point":
All night, this headland
Lunges into the rumpling
Capework of the wind.
Hard to know where to begin singing the praises of this amazing poem, a haiku
that like many others by Wilbur, near-rhymes (here, "land" with "wind"). Perhaps
start by pointing out that all three touchstones so far are very short poems, making
Touchstones
What are the poems one returns to, always taking pleasure?
Or to put it slightly differently, what poems would enjoy the
place of honor in one's Absolute Anthology (no fair including
warhorses, chestnuts, and poems one is supposed to like)?
I'd start with Frost's "Fire and Ice," for its astounding compression
and bite--a coiled spring of mostly monosyllables--snapping those
two dimeter lines in place while avoiding the risk of chiming
(too-close rhyming). The rhymes "fit" perfectly yet catch one
off-guard.
Bio
Len Krisak graduated from the University of Michigan in 1970 and took his MA from Brandeis University in 1974. In Massachusetts, he worked as a textbook editor and English teacher at Brandeis, Northeastern University, Bentley University, and Stonehill College before retiring in 2010 to write poems and translate.