The New Generation Of Banging Hardtechno

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by another, every second
one place.
to float away or apart—being held
we’re back!
Here and there were like
by the eye’s authority, threatening
together and down.”
of the day, every second
“If sadness
While Armantrout’s lines are certainly fascinating, they’re freely floating on imaginative leaps that can seem more clever than enlightening. Garratt, on the other hand, makes the initial choice of turning the emotional concept of loneliness into a solidly expressive pattern of thought.
“I miss lately the grounded feeling
In other words, achieving a middle ground means actively and intellectually taking on confusion, rather than resting your laurels on one side of it or the other. Garret’s effects, as if floating on freely chosen words and phrases but anchored by traceable thought processes, are both disarmingly original and intellectually engaging. She does the difficult work of making sense of her imagination as she goes about exercising it.
in the room—I miss the knife-edge
verge or seizure
is akin to patience,
Language poets might consider Garratt’s technique retrograde or out of fashion, but considering that language poets are now established enough that they’re winning Pulitze
Every year, a new crop of contest-winning poetry books are released, and the mass of them, assuming anyone reads every single one, takes a while to digest. Some are plain good,[link widoczny dla zalogowanych], some are promising, and some are bewilderingly bad or unnervingly mediocre. And some are not only good,[link widoczny dla zalogowanych], but also take on some sort of theoretical importance to the poetry world. Such is the case with Maryland native Jessica Garratt’s Fire Pond, chosen by final judge Medbh McGuckian as the winner of the 2008 Agha Shahid Ali Prize In Poetry, and published in 2009 by The University of Utah Press.
to loneliness.
Why? It takes some explaining, and it’s best to start with the fact that the 2010 Pulitzer Prize for poetry went to one of America’s longtime leading “language poets,” Rae Armantrout. For anyone who may admire the daring experimentation of this style, but is baffled, underwhelmed, or unconvinced by what it aims to achieve, Garratt’s book, her first, can serve as a fine alternative or antidote.
Two Kinds of Examples
Armantrout:
that someone, always, is looking
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the fear and joy of apprehension
meaning not being allowed
of myself. Grounded,
Two Kinds of Reality
of being with someone—the sense
to forever absolve me
find someone to show.”
But we need to triangulate,
was our first response
Pattern recognition
Two examples, one from Rae Armantrout’s poem “Upper World,” and one from Garratt’s poem “Brookyln, February,” form a revealing contrast:
The unconvinced might put it this way: By eschewing grandly philosophic or colloquial and ordinary, linear thought, language poets set themselves adrift on wherever the surface effects of language will take them, hoping to arrive sideways (or more sideways than “regular” poems do) at some new dimension of meaning. But as French poet Paul Valery, perhaps the shrewdest writer ever about poetry (as well as being an expert writer of poetry), put it: “I learned very quickly to distinguish between the reality of thought and the reality of effects. But without this confusion is one a poet?”
Garratt:
even when no one is