By Gail Mazur
Extensively acclaimed for increasing the stylistic limitations of either the narrative and meditative lyric, Gail Mazur’s poetry crackles with verbal invention as she confronts the inevitable upheavals of a lived lifestyles. Zeppo’s First spouse, together with excerpts from Mazur’s 4 past books, in addition to twenty-two new poems, is epitomized through the worldly longing of the identify poem, with its looking out poignancy and comedian bravura. Mazur’s explorations of “this fallen global, this loony world” are deeply relocating acts of empathy via a novel ethical sensibility—evident from the earliest poem incorporated the following, the much-anthologized “Baseball,” a beautiful bird’s-eye view of human foibles and passions. Clear-eyed, choked with paradoxical griefs and appetites, her poems courageous the main pressing subjects—from the fraught luscious Eden of the ballpark, to the fragility of our closest human ties, to the consequences for the USA in an international the place strength and warfare are cataclysmic for the powerful in addition to the vulnerable.
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Extra info for Zeppo's First Wife: New and Selected Poems (Phoenix Poets)
What happens when we are constructed as adversary and ally, encumbrance and friend? In the next chapter, I will try to show how such doubling can occur within the writing of one student, Devlyn, who discovered a creative way to approach his rhetorical predicament. ” In the years since its ﬁrst publication, Elbow’s article has been cited, praised, disparaged by some, but generally acknowledged as an important counterstatement to a good deal of then-current thinking about audience. Elbow’s article proceeds from what he calls a “limited claim,” his view that “even though ignoring audience will usually lead to weak writing at ﬁrst .
These are composed of “that person who intimidates us” or those “people who make us feel dumb when we try to speak to them” (51) or even such 32 S AY I N G A N D S I L E N C E “readers with whom we have an awkward relationship” (52). Indeed, for Elbow, it goes without saying that inhibiting audiences are, by definition, impediments to a writer’s struggle to say something authentic and compelling to others. But they are something else too. Notice that, in Elbow’s descriptions, inhibiting audiences are almost always personal, immediate, overwhelmingly present.
Or, as the contemporary philosopher, Hilary Putnam, has pointed out: “We always speak the language of a time and place; but the rightness and wrongness of what we say is not just for a time and place” (247). If this were not the case, we would face the curious necessity of having to attach a subtextual rider to every utterance we make, a disclaimer of sorts that might be translated thus: “Of course, you must realize that the words I speak to you have no meaning beyond the here and now in which they are spoken.