Zapruder is the coolest, most unassuming teacher in his poetry, always stretching your mind out (in an almost literal way, the way his frequent enjambments and lack of punctuation demand a substantial and meaningful hold on your attention), making yReading this book was like borrowing the brain of someone who thinks in the exact opposite way that I do (not in the ideological sense; think of each neural pathway simply running in reverse), yet who is therefore an almost perfect counterpart to me.
The Bagley Wright Lecture Series, founded by Wave Publisher Charlie Wright, and directed by Wave Editor-at-Large Matthew Zapruder.. except the flowers Sarah bought me and my death’s head. Zapruder uses mostly plain, straightforward language so his poems aren't difficult to follow. Zapruder reads like a hip John Ashbery with heart, but the same things that often frustrate me about Ashbery frustrate me about Zapruder -- a near fetishistic need to jarringly juxtapose high and low diction, switch registers and voices seemingly on a whim, and a deliberate attempt to obfuscate, sacrificing heart and clarity for a more formal representation of what it means to be alive in post-modern America. Does anyone get anything?" )My oh my what a book. His final poem, a five movement elegy for, among others, David Foster Wallace and his father, is a powerful plea for art in the service of memorializing and survival.So much that has been lost in modern poetry is recovered by Matthew Zapruder in So much that has been lost in modern poetry is recovered by Matthew Zapruder in “I know less than I did before, and I live on a hill whereNot particularly substantive, but has a nice voice and that one image everyone's raving about.I wasn't able to get through this collection on my first or second attempts. The quiet and comfortable room, with its dark blue armchairs, fills with sunlight in the afternoon. (woof, this is awful and disjointed, but whatever.
They jingle This week, the staff of ‘The Paris Review’ goes on vacation, scrolls through endless articles, and dreams of mastering Bach.Antonella Anedda, born in 1955, is one of Italy’s most lauded contemporary poets.
"Never to Return" is one of the most dizzying and whimsical and baffling poems I've ever read. Come On All You Ghosts. The title poem is an elegy for the heroes and mentors in the poet's life—from David Foster Wallace to the poet's father.
These little paperbacks, with their plain white covers, make up the shelf of noted contemporary Italian poetry and poetry in Italian translation, from Samuel Beckett and Mario Luzi in the sixties to Jan Wagner, Patrizia Cavalli, and Mariangela Gualtieri today. Her family occupies the third floor. I used a handful of those early poems in an introductory poetry class I taught because I admired them so much.
This June, as we observe LGBTQ Pride—the annual celebration of the lesbian, gay, bisexual, transgender, and queer/questioning communities—we wa...Matthew Zapruder's third book mixes humor and invention with love and loss, as when the breath of a lover is compared to "a field of titanium gravestones / growing warmer in the sun."
It's discursive (some would say disjointed) and prosy and at times breaks my friend's rule that poetry should only do those things which only poetry can do, but I can forgive nearly anything when he does this: Zapruder is quickly becoming a favorite and an (re)entry point for something I lost along the way. I am thinking I really am not into poetry. I first picked this up as a sophomore in college and just got back to it in my "sophomore" year post grad.
Zapruder reads like a hip John Ashbery with heart, but the same things that often frustrate me about Ashbery frustrate me about Zapruder -- a near fetishistic need to jarringly juxtapose high and low diction, switch registers and voices seemingly on a whim, and a deliberate attempt to obfuscate, sacrificing heart and clarity for a more formal representation of what it means to be alive in post-modern America. In the fall and spring she travels from her home in Rome to teach modern literature at the Università della Svizzera italiana in Lugano. Matthew Zapruder Issue 193, Summer 2010. Here are some thoughts I apparently wrote down at some point. I liked the themes of technology, science and death. Listening to Blok’s poem—I was thirteen or fourteen—I thought that perhaps poetry could create a relationship with absence, with death, transposing the present into another space and time.Does this relationship with absence remain the reason why you write poems?I write to intensify reality and at the same time to undermine it, as Emily Dickinson does when she says, “Bring me the sunset in a cup / Reckon the morning’s flagons up.” The miracle of this poem is the dislocation of the relationship between the domestic and the universal. If only I could follow the chain and take the road to the dragon, then life would be good.
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