My Life and My Life in the Nineties (Wesleyan Poetry Series) by Lyn Hejinian

By Lyn Hejinian

Lyn Hejinian is likely one of the such a lot favorite of up to date American poets. Her poem My Life has garnered accolades and enthusiasts in and out academia. First released in 1980, and revised in 1987 and 2002, My Life is now firmly confirmed within the postmodern canon. This Wesleyan variation contains the 45-part prose poem series in addition to a heavily comparable ten-part paintings titled My existence within the Nineties. An experimental intervention into the autobiographical style, My Life explores the various ways that language—the issues humans say and the methods they are saying them—shapes not just their id, but in addition the very global round them.

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Example text

Sappho did not title her poems. I have made use of the “free line,” which is a poem’s title, in order to give the reader information found in the source and commentary, or derived from a close study of a difficult or evasive fragment. A simple example: In the one­line fragment 54, the subject noun of the verb is missing in the Greek text. It Introduction xli reads: “. . ” How­ ever, the lexicographer Pollux, in whose Vocabulary this line is cited and thereby preserved, states that Sappho is describing Eros.

Not on McCulloh’s watch, for which I am endlessly grateful. In general I prefer to be closer to what Italians do with Cicero and Greeks with Euripides. They pronounce all common words and ancient names as they do Italian and modern Greek and do not aspirate their ϕ. Hence, Greeks sitting in an ancient amphi­ theater or standing in an Orthodox church understand the old chanted Greek. Whatever script is used to record Sappho in another tongue, as she sings in Greek she must sing in English. The smallest of her surviving Greek fragments echoes with music.

On the third and last day of his famous trial of “gross indecency” for a homosexual act in 1895, Wilde invoked the Sonnets in his defense, a declaration that served to deepen his legal guilt. In Shakespeare’s Sonnets, the editor, Katherine Duncan­ Jones, addresses the almost universal dissemblance of Shake­ speare’s homosexual passions. Without sympathy she describes W. H. ” She writes: This is the case of W. H. Auden. Though anyone with a knowledge of Auden’s biography might ex­ pect him to celebrate and endorse the homoerotic character of 1–126, he was absolutely determined not to do so, at least publicly.

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