The Art of Daring: Risk, Restlessness, Imagination

The Art of Daring: Risk, Restlessness, Imagination

Language: English

Pages: 136

ISBN: 1555976816

Format: PDF / Kindle (mobi) / ePub

The Art of Daring: Risk, Restlessness, Imagination

Language: English

Pages: 136

ISBN: 1555976816

Format: PDF / Kindle (mobi) / ePub


The award-winning poet Carl Phillips's invaluable essays on poetry, the tenth volume in the celebrated Art of series of books on the craft of writing

In seven insightful essays, Carl Phillips meditates on the craft of poetry, its capacity for making a space for possibility and inquiry. What does it mean to give shapelessness a form? How can a poem explore both the natural world and the inner world? Phillips demonstrates the restless qualities of the imagination by reading and examining poems by Ashbery, Bogan, Frost, Niedecker, Shakespeare, and others, and by considering other art forms, such as photography and the blues. The Art of Daring is a lyrical, persuasive argument for the many ways that writing and living are acts of risk. "I think it's largely the conundrum of being human that makes us keep making," Phillips writes. "I think it has something to do with revision―how, not only is the world in constant revision, but each of us is, as well."

Accidental Genius: Using Writing to Generate Your Best Ideas, Insight, and Content

The Language of the Night: Essays on Fantasy and Science Fiction

Who Owns This Text?: Plagiarism, Authorship, and Disciplinary Cultures

Writing Steampunk!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

a life elsewhere. However sad they may be, these men are the speaker’s captains, like the stars in their motion but also, implicitly, in their reliability even as, incongruously, it is in their restlessness that they are most reliable. Gunn gives to restlessness, to sexual restlessness specifically, a strange dignity, almost, removing the men from the realm of moral judgment, the speaker himself adding, as if casually, that he only thought the men lived a certain way—he can’t be certain now,

the Judeo-Christian sense of a means toward and/or an opportunity for salvation, but as a kind of respite—not oblivion, but a strangely heightened consciousness of the stakes of mortality. The effect for the reader—for this reader, at least—is to be as if bodily shaken: I’m made to see the world more intensely, my love for it deepens, even as my sorrow does—without which, I wouldn’t know what love is, to begin with. Here is Laura Jensen’s “The Red Dog”: You know that he is going to die as soon

called a consonantal rhyme with mad (3), head (4), proud (5), pride (6), thread (9), blood (14), world (17), thread again (20), and, again, led (21). Consonantal rhyme is, as you can see, one where two words rhyme by virtue of their being anchored by a vowel and the same consonant. A second consonantal rhyme occurs, then, between straight (7), about (8), heart (15), fright (16), and roundabout (18). Finally, there’s the exact rhyme between stays (2), race (13), ways (19), and maze (22). The poem

hung next to each other,” but also that they did so at a particular height—again, not in terms of feet or inches, but of something more exactly visible, “at the height of a deer’s breast.” It’s at line 12 that the tug-of-war I mentioned earlier emerges, that moment when the snake’s passage is compared to three very different things: “as if the creature were a criminal / Being escorted to execution or a child king / To the throne”; or, thinks the speaker, “the snake / Might be a hose, held by two

true. Part of the force of the poem’s conclusion—“I love him”—comes from the confidence with which it either refuses or embraces the man’s two-sidedness. It’s hard to say for sure. It’s an expression of feeling, not of reason, it’s a pitching of absoluteness in the face of ambivalence, it’s an expression of calculated risk and of recklessness, both. And it makes the speaker sad, noble, and exactly what she says she is: human. I think it’s largely the conundrum of being human that makes us keep

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