By Charles O. Hartman
An excellent new assortment by way of a poet who's additionally a critic of jazz shape and free-verse prosody.
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Once physiology has ceased, the ground and its inhabitants unmake an anatomy in a few years. " Here I have two thingsmy fist; my lapthat I can make appear and disappear from the world in an instant. Does this miracle depend on language? I put one hand on my hip, and I make a shape. However distinctive, it has no name (no noun, though we might dredge up the adjective "akimbo"). But it constitutes a thing as much as do the reified gestures of closed hand and bent legs. Yet given this pair, "fist" and ''lap," by the language, we can construct a whole human range: the poles of rage and comfort; declarations of intent to move (a fist wants to strike out) and intent not to move (I shall sit down).
If I play a piece of music, I play it, even if I play it over and over, striving. What genuine occasion does not count as exercise, and as the ultimate moment of time so far? ) Page 58 Glass New glass has a tensile strength five times the best practical steel, and twice the theoretical limit of steel. Glass weakens, both through fatigue and through chemical action ("poor resistance to attack by alkaline solutions. Thus, the familiar soda-lime glass contains the agent of its eventual destruction" [Encyclopedia Britannica XI]).
Why avoid? Only constraint focuses us sharply enough to clarify anything new. " The Chinese contortionist I saw in a circus redefined the human body's relation to barrels twelve inches across. I sidestep the outlawed word through English facilities of ellipsis, as when the participle turned adjective drops its auxiliary. Bending familiar stylistic admonitions to new purpose, I avoid passives. In a pinch, colon elides copula: a shortcut. Yet guerilla tactics exact less interest than the hard cases: grooves in the English road that favor static identification.