What I want is a poetry of what the Greeks called public life, expressed with the intensity and deadly earnest (not unrelieved by irony and humor) of the lyric. I want a tragic poetry whose sense is clear, and whose sound is a subtle, trance-inducing fugue, woven of phonetic subsystems -- consonant patterns, vowel patterns, patterns of rhyme (especially internal rhymes), and the varied, hypnotic rhythms of inspired metrical speech in a high style. That's what I have tried to achieve in my new, first book of poems, called Limousine, Midnight Blue: Fifty Frames from the Zapruder Film. It's blessed with enthusiastic endorsements from both Billy Collins and Peter Dale Scott. Read sample pages and watch trailer clips at my website, http://www.jameyhecht.com.
I'm grateful for your interest in this book and I hope you may be moved to review it. Thank you.
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ena...
3 days ago
I share essentially all of your notions from this post. You forgot to mention identity poetry, though. I find most of it loathsome. Reginald Shepard pretty eloquently blogged about his distate for this kind of poetry a couple of years ago. See it here: http://reginaldshepherd.blogspot.com/2007/09/against-identity-poetry-for-possibility.html
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