I believe a Bauhaus-type approach might help lead to needed reform in the teaching of creative writing.
Over the past 6 weeks William Kentridge has shown the form of the lecture itself to be obsolete. But over the course of his returns to the podium, he has shown us that the lecture’s fate is not so dire as he had induced us —- for seventy minutes at a stretch -— to believe.
William Kentridge spoke of the value of using a mirror to re-learn what he already knew how to do; the clear implication was that we are daily surrounded by mirror-images that we do not see for themselves but that hold the potential to alter our relationships to our tools and to our visions.
The decisions William Kentridge makes in his minute to-ings and fro-ings are akin to the decisions a poet makes as she works her measure over and over again.
For William Kentridge history accrues, falls dead, is born, washes up, piles up, and may be artfully arranged, but the most powerful place that this accretion might happen is in the artist’s studio, which is a metonym for the human mind.
After hearing just the first of William Kentridge’s six Norton Lectures, I have no doubt that this series of “Drawing Lessons” will be one of the most entertaining and enlightening artistic events of 2012.
Certainly part of the power of Tomas Tranströmer’s poetry resides in how, having established a jagged consciousness, he leaves us in between—in a world full of questions that are not easily resolved.
Is it true that if I love my neighbor I can, or will, like myself? This question cuts to the heart of the poems in Heni Cole’s volume “Touch,” and the answer is yes.
Must age diminish a great poet’s strengths? If I grant that age has such power, I’m left to ponder the truly strange fact that death does not.
I wouldn’t be writing this review or asking you to read this book if I didn’t believe that McLane were up to something far more radical and also far more difficult to reckon with—something I am not even sure I can account for. The most significant quality of the poetry in “World Enough” is a profound and unapologetic ambiguity.