<?xml version="1.0" encoding="iso-8859-1" ?><rss version="2.0"><channel><title>washingtonpost.com - Poet's Choice</title><link>http://www.washingtonpost.com/wp-dyn/style/columns/poetschoice?nav=rss_style/columns/poetschoice</link><description>Poet's Choice</description><language>en-us</language><ttl>15</ttl><image><title>washingtonpost.com</title><width>140</width><height>20</height><link>http://www.washingtonpost.com</link><url>http://media.washingtonpost.com/wp-srv/hp/image/wp_web.gif</url></image><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A7883-2005Apr21.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A7883-2005Apr21.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Attention is a beautiful thing, and much in demand. Probably more of us want it than know how to give it. Marianne Boruch's recent <em>Poems: New and Selected</em> has the wonderful, commanding power of true attention: She sees and considers with intensity. Her poems often give fresh examples of how rare and thrilling it can be to <em>notice.</em>]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A55012-2005Apr14.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A55012-2005Apr14.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Eccentric, uneven, brilliant, authentic, the remarkable poet Bill Knott is not the type to win prizes,  become the pet of academic critics or cultivate acolytes. But this thorny genius has added to the art of poetry.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A35779-2005Apr7.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A35779-2005Apr7.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Look around the airplane or the bus and what are people reading? Maybe the newspaper with its chronicle of death by war, fatal accident, natural disaster or crime: Only <em>Sports</em> and (paradoxically) <em>Obituaries</em> are consistently more about life than death. On the bus, some traditionalist may be reading a cozy murder mystery. Other people are deep in a legal or technological thriller, its plot driven by actual or threatened death.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A17322-2005Mar31.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A17322-2005Mar31.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[For many centuries poets did not make a hard distinction between writing and translation. The "originality" was in the style, reflecting the poet's actual choices and decisions, so that Surrey or Sidney might translate Petrarch, or incorporate his ideas, as Herrick might make a poem partway out of a poem by Anacreon. In the same spirit, Shakespeare lifts a little out of sources like North's translation of Plutarch. Then, with a bit of rearranging to make it come out in iambic pentameter, he puts the passage into the mouth of Enobarbus in "Antony and Cleopatra."]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A64542-2005Mar24.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A64542-2005Mar24.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[A wonderful book just published by Handsel Books is <em>Montale in English</em>, an anthology of translations by many hands. Eugenio Montale (1896-1981) has exerted  a continuing, large influence on poetry in English. This book, edited by Harry Thomas, presents the range and depth of the great Italian modernist's attraction for those who write in English.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A45487-2005Mar17.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A45487-2005Mar17.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[March, the month of college basketball's annual NCAA tournament (and preceding Poetry Month), gives me an opportunity to begin honoring predecessors in this column. Edward Hirsch's justly celebrated poem "Fast Break" captures and epitomizes the speed and brilliance of an inspired moment when things go right  --  in the rhythms of a sport or in the charmed exertions of sentences and lines.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A25570-2005Mar10.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A25570-2005Mar10.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[The dream-power of actual places has been one of the great themes of poetry: A  specific landscape, exotic or dreamy, becomes a way to express some feeling -- peace or excitement or anxiety -- that might be inexpressible without the scene.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A5629-2005Mar3.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A5629-2005Mar3.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Even great, lethal calamities can have redemptive consequences, however small in scale and little noticed. For decades now, American and Vietnamese poets have been translating between the two languages -- not only bringing two cultures a little closer, but trying to behold the meanings that still ripple and evolve from their terrible collision in war.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A51774-2005Feb24.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A51774-2005Feb24.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[One of the very best translations written in our time, of anything, is David Ferry's electric and highly readable rendering of <em>Gilgames</em>h.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A33504-2005Feb17.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A33504-2005Feb17.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Constantine Cavafy (1863-1933), as a Greek in his Egyptian city of Alexandria, was both native and alien. His work creates an Alexandria where neighborhood bars adjoin eternal mythology, and personal desires reflect the communal pageant of history. He considers large matters like the birth of Christianity and the decline of Rome as they are revealed in particular lives.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A15603-2005Feb10.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A15603-2005Feb10.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Poetry makes something happen. The eloquence, the brilliant language, the musical sounds turn out to be going somewhere, toward some discovery or action -- sometimes even toward the action of tossing the eloquence or images aside, like a raft that has served its purpose.]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A62085-2005Feb3.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A62085-2005Feb3.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Here are two poems that create a feeling like sympathy, through the method of  observation. One is by the 19th-century poet John Clare, who was a self-educated, impoverished farm worker. The other is by Elise Partridge, a young American poet living in Canada, whose first book, <em>Fielder's Choice</em>, is published by the Canadian press Signal Editions. Partridge first:]]></description><author> Robert Pinsky</author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A37290-2003Dec4.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A37290-2003Dec4.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[The poet Naomi Shihab Nye resolutely holds onto the upbeat, un-cynical notion that lyric poetry nourishes intimacy and fosters understanding, that human connections are more powerful and enduring than cultural differences.]]></description><author> Edward Hirsch</author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A16404-2003Nov26.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A16404-2003Nov26.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA["There is something missing in our definition, vision, of a human being: the need to make," Frank Bidart writes in "Advice to the Players": "We are creatures who need to make." He also suggests, "Making is the mirror in which we see ourselves."]]></description><author></author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A232-2003Nov20.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A232-2003Nov20.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[George Oppen (1908-1984) is widely known as an Objectivist poet, but I think of him more as an American solitary, akin to Edward Hopper.]]></description><author></author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A38724-2003Nov13.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A38724-2003Nov13.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[The poet Daniel Hughes, a radiant presence, died in October at the age of 74. He lived in Detroit, where he had been a longtime professor of English at Wayne State University. I would say that Hughes was deterred but not defeated by the debilitating illness of multiple sclerosis, which he suffered for 40 years.]]></description><author></author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A41307-2003Oct30.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A41307-2003Oct30.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[The sestina, an intricate verse form created and mastered by the Provengal poets, is a 39-line poem consisting of six six-line stanzas and one three-line envoi (or "send-off").]]></description><author></author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A35984-2003Oct16.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A35984-2003Oct16.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[Olena Kalytiak Davis's two collections of poetry, "And Her Soul Out of Nothing" (1997) and "shattered sonnets love cards and other off and back handed importunities" (2003), show her to be one of the most idiosyncratic, unpredictable and compelling poets of her generation.]]></description><author></author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A6258-2003Oct9.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A6258-2003Oct9.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[The villanelle, a French form codified in the 16th century, has its roots in Italian folk song. The term <em>villanella</em> has its etymological origin in <em>villano</em>, an Italian word for "peasant," and in <em>villa</em>, the Latin word for "farm" or "country house."]]></description><author></author></item><item><title><![CDATA[Poet's Choice: By Edward Hirsch]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A37410-2003Oct2.html?nav=rss_style/columns/poetschoice</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A37410-2003Oct2.html?nav=rss_style/columns/poetschoice</guid><pubDate>Sun, 24 Apr 2005 7:50:23 GMT</pubDate><description><![CDATA[The Yiddish poet Kadya Molodowsky (1894-1975) published six books of poetry in her lifetime. Molodowsky is best known for her children's poems, but I am especially compelled by the adult work of this rebellious and learned modernist, who viewed herself as an exiled outsider.]]></description><author></author></item></channel></rss>