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According to Judith and William Neveichols, “the poet must rely on concentrated attention to the craft of the poem to express conviction; the poet cannot rely in tradition alone but must invent a structure or form which contains the poet’s conviction” (69).
Being in an uncluttered space, nurtured by landscape and generous staff, allowed me to mine difficult material.
Where do your poems most often come from—an image, a sound, a phrase, an idea?
Sometimes phrases resonate inside me for decades before finding their way onto the page. I might only receive the message much later, after more growth.
Which writers (living or dead) do you feel have influenced you the most?
(nonfiction), and curator of the online exhibition, "On Equal Terms: gender and solidarity," for which she was awarded an Engaging New Audiences special project grant from Mass Humanities.
She is a Resident Artist/Scholar at the Brandeis Women’s Studies Research Center. I remember being very pleased in 3rd grade when an aptitude test suggested I should become either a Poet or Spy—both had great appeal! I still have my childhood copy of A Child’s Garden of Verses with its beautiful colored illustrations.It is through her poetry that readers familiarize themselves with the poet’s experience in order to achieve a different level of understanding.What this article will attempt to show is how Levertov in her poems combines the intellectual with the emotional experience, the personal with the public, in an attempt to create what she calls an “inscape,” as will be analyzed furtherdown.Levertov was also influenced by Charles Olson’s essay “Projective Verse,” published in 1950, where attention is paid to “the possibilities of breath” and the kinetics of a poem (613).However, she takes poetic writing a step further as she is also interested in the way experience is mediated to or translated into words.The structure of poems became life rafts in a tumultuous time, and—since the times continue to be tumultuous—have continued to be a necessary center in my life. I deeply admire people who have a writing routine and a neat desk.Writing an essay for Denise Levertov, In Company (South Carolina, 2018) about that relationship, helped clarify for me the importance of that start. I’m more of a binge writer who periodically becomes obsessed and—in between those storms—gathers lots of scribbled lines and notes written on anything handy in a moment of urgency (unfortunately, not always comprehensible when pulled out later).The large scale of his poems, his personal generosity, and his advice to use the language of the workplace all made a deep impression. Poems in the middle section explore resonances in other spheres—including family, Detroit ’67, Gaza—to explore how systems of discrimination, domination, and exclusion are maintained and passed on: the induction into accepting injustice and agreed-upon lies.Lucille Clifton’s ability to create not just strong and clear individuals in her poems, but a community of people, who were contextualized, was an important model. The title poem examines the complex turns of the apprentice/journeyman relationship, and one apprentice’ choice to compromise on principles rather than jeopardize the opportunity to work with an exceptionally gifted mechanic.In the poems to be analyzed here, Levertov uses the public event of the Vietnam War (1959-1975) as her canvas on which she draws strong, lyrical and at times ironic images by creating for the readers intriguing and thought-provoking juxtapositions.To begin with, emphasis needs to be placed on what Levertov calls “organic form” as this is described in her essay “Some Notes on Organic Form” (1965) for one to appreciate her poetic practice.