You don’t want any woman to look under the carpet because there’s lots of flaws underneath. I personally don’t think there’s one character who comes close…
Joanne believes my character in a film we did together, “Mr.
This is what the poem’s words as names can root out: the news of the Phoenician place names, buried in Semitic etymology, long ago become fable or story; the Phoenician facts on the ground (or on the water), motivating the wanderings of a Greek or, as in James Joyce’s transmutation of the story, a Jew in Dublin. Dining bemusedly with fiends and demons drifting downriver aboard the Fidèle.
Mc Naughton’s poems return us to these kinds of rootings and wanderings: names are always shifting on his journey, with the lyric and epic voices of Sappho, Homer, John Keats, Olson, John Wieners, Ed Dorn, and Robert Creeley in the wings. Mc Naughton’s “blackened art” turns voice into persona: a trickster voice, dead serious and deadpan comic, on the level and off-balance, as we go along for the ride.
As Smith, who in turn studied with Mc Naughton at New College of California in San Francisco, writes: Clearly situated within the tradition of Modernism, and opposed to the total bullshit castration process encouraged by Postmodernism, Mc Naughton’s work achieves a testament of personal observation embedded in a trans-historical tendance of the imagination.
It is like Alice Notley said, words aren’t language—they never were.” Mc Naughton’s sense of what words do with them, is captured in Charles Olson’s description of the poet as an “archaeologist of morning.” At SUNY Buffalo in the 1970s, Mc Naughton became part of the lineage of poets who have “dug” Olson’s poetics, working with Olson’s colleague, the poet-scholar Jack Clarke after Olson’s death.
Rachel’s biggest claim to fame of the moment, however, is founding the women focused online book club #WLClub. ) and keeps us both laughing and thinking, thanks to her non-stop tweets.
She regularly manages to be both profound and hilarious.
Ann Friedman, Newsletter guru Writer When she’s not co-hosting “Call Your Girlfriend,” Ann is penning one of our very favorite newsletters out there: The Ann Friedman Weekly.; founder and director of the Poetics Program at the New College of California; master teacher in the 1980s with that other Duncan (Robert), among other extraordinary teacher-poets who refused academia or whom academia refused (David Meltzer, Diane di Prima, Michael Palmer); author of a never published dissertation on Shakespeare’s sonnets, along with eighteen books of poetry, which, by and large, have never been reviewed, relics of the generation of slow hand-made small press poetry books mostly out of print. Language and discourse, specifically generated by the advent of writing itself, are in the agency of power. It’s Olsonian, and behind it, like so much else, he owes a great deal to Pound. “to discover for oneself,” one of Olson’s informal directives for the poet.And so who knows, who notices, that to speak of Duncan Mc Naughton’s poetry is to go against the current of poets rambling in poetic rhetoric about the role of poetry in today’s social-media world, as if, Mc Naughton wrote in a March 3, 2006, letter to the poet and critic Dale Smith, it is “a matter of the poem and the poets having to become ‘better’ communicators or to come up with means which generate wider social attention to them.” Such exertions are not for Mc Naughton. He’s also unapologetically Romantic, in the tradition of Blake, D. The poet is on a dig, breaking ground, which at times hides or occults a buried reality.When the group of women who have known each other since elementary school meet for a weekend brunch, the world may see you as mid-twentysomethings who lead lives full of successful careers, motherhood, and marriage.But to each other a time warp still is in place when you reunite no matter how many weeks or months pass by.