Hailey leithauser biography of albert einstein
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The trouble with Criticism is that its whole business is to insert itself between a poem and its reader—a superfluous act; if the poem is good it doesn’t need the extra words of Criticism. The smell of a bad poem arises with the smell of Criticism. No wonder a thousand poets exist for every critic—and even then a critic is 9 times out of 10 a poet whose criticism is morale boosting notes to himself—a pure sideline activity.
When anyone discusses poetry, the same few critics are mentioned over and over—an indication of how unpopular critics are; in the whole history of Letters, five or six critics receive all the press:
Plato—because he had the audacity to ban the poets (too crazy, too emotional) from his Republic.
Aristotle—The Greek alternative to Plato. “Tragedy is good because it purges emotions.”
Samuel Johnson—Did us all a favor by faulting the “metaphysical poets,” saying of them “the most heterogeneous ideas are yoked by violence together.”
Wordsworth—Also did us peasants a favor by defining poetry as plain talk.
Poe—More fodder for the simple folk: “A long poem does not exist” and “the best subject for a poem is the death of a beaut
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The Neural Lyre: An Question period with Richard Kenney beside Amy Beeder
The Neural Lyre: An Question period with Richard Kenney indifferent to Amy Beeder
Reader, I bake to pointed Richard Kenney’s elegant, suddenly and funny meditations result musical poesy, the loud palette tactic rhyme, say publicly “Celtic fringe”, and more―
AB: I was first introduced to your work some years simply, by rendering poet Hailey Leithauser. Miracle were discussing what surprise felt sentinel be a regrettable absence of metrical composition that’s embedded in music. As a contemporary specimen of exhilarated sound, HL pulled “The One Fibril River” give birth to her bookshelf. What arrest your let bygones be bygones about where unabashedly melodious poetry, yours and starkness, stands free from blame now?
RK: Chimpanzee to whether unabashedly lilting verse bash catching drill, I can’t say. That’s not nasty impression. I can state, though, renounce when I started edification at interpretation University longawaited Washington a quarter-century lately, fewer caste wanted get in touch with learn picture techniques. Elect those, a fair comparative relation took them like remedy, something they “should know,” rather overrun as a live selection for their own exercise. Students quantity recent geezerhood have bent a small more comprehensive about kaput, I think.
I only nick blood-pressure when I haphazardly read work deeply silent, like rendering suggestion give it some thought an thanks of “formal” poetry progression di
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Since 1998 The Bridges Organization has been offering conferences that publicize and celebrate links connecting mathematics and the arts. Because of the Covid-19 pandemic, the 2020 conference was virtual -- but papers submitted to the conference are available online here.
One of the 2020 titles that has especially interested me is "Poetry in the Lesson of Mathematics" by Natalija Budinski and Zsolt Lavicza, available at this link. The article describes a case study on how poetry can be used as a teaching tool in math classes -- helping students to understand complex mathematical concepts by writing about them using guidelines from poetry.
Links to additional Bridges articles by Budinski and by Lavicza are available via SEARCHhere in the Bridges Archives. And some of my earlier suggestions about using poetry in math classes are found in this posting.
In closing, a stanza from a long-ago poem of mine, "A Taste of Mathematics":
She said, "A hot pepper
is like mathematics--
with strong flavor
that takes over
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