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The lost art of reading

The lost art of reading
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Poetry Today: Molly Spencer and Cynthia Atkins « Kenyon Review Blog

The Writer’s Chronicle, and  The Rumpus, where she is a senior poetry editor. She teaches at the University of Michigan’s Gerald R. Ford School of Public Policy. ​ INTRODUCTION Being a poet has taught me the value of practice and patience. I have learned that my next poem will reveal itself to me if I simply follow language by engaging with it through my (mostly) daily reading and writing practice and if I wait for that small, persistent thing a scrap of language, an image, a question that won’t leave me alone that opens a door in my mind. I’ve also learned that for me, at least poetry is slow. I often work on poems for several years before they’re finished. This morning, I think I finally found the right form for a poem I’ve been working on for four years. Last month, I finished a poem I started working on in 2010. My poems spend a long time resting, waiting for me to come back around and try again to get it right. I’m not a particularly patient person in other

Simone Weil (person) by Aenqa - Everything2.com

Simone Weil - Everything2.com

David Grundy on N.H. Pritchard's The Matrix (1970) - Artforum International

The Matrix (1970) The Matrix, 1970 (Primary Information, 2021). N.H. Pritchard,  The Matrix. New York, New York: Primary Information and Ugly Duckling Presse, 2021. 113 pages. THE MATRIX is one of the most radical and most important books of poetry of the 1960s. It’s also one of the most mysterious. A new facsimile reissue of N. H. Pritchard’s first collection along with DABA press’s republication of his only other book,  EECCHHOOEESS (1971) provides an opportunity to re-examine an extraordinary and extraordinarily neglected poet whose work continues to evade capture. Born in New York and of West Indian descent, Norman Henry Pritchard II considered attending Columbia on a sports scholarship but ultimately studied art history at NYU, where he wrote an MA thesis on Eastman Johnson’s paintings on “the Negro theme” under art historian Robert Goldwater. Discovering the bohemian and artistic life of the East Village, he befriended artists including Philip Guston and

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