What would you say, what kind of I, I mean, almost in a grammatical way where is this I coming from? >> Walt does come back, he does come back, not so much in Armantrout, I would say, but in, but in, conceptual poets. You don't hear an I on Broadway and think. As a child, I was abandoned in a story made of trees. And it's only that adult, that person who has learned that, that can produce the first part of the poem and not be frightened by the fracturing of the contemporary subject.chapter 1.2 (week 2)âWhitmanians & Dickinsonians Kelly Professor, Dir.
>> Mm-hm. announces, “I am here.” I made only one statement. >> Allowance of. >> And this clearing is also here.. >> Yeah, I think they are functioning in the same way but not the same that. >> I guess, what I would do is. a corset or toe shoes one night. The I of the second stanza is someone. >> [laugh] >> Or like a line from a book. She was abandoned in a story made of trees. >> I think she purposely brings the here back so she can alter it, so in the beginning we have this very authoritative in a church setting, I am here, and in the end. Anna, how do you deal with this? >> Well, we have some strategies. You know where you are, you come to an open space. Not just within the.
This is the first time we're seeing true collage, we're seeing an I come from somewhere else. If you have questions, you can email the ModPo team any time at modpo@writing.upenn.edu. Dave what happens, what's different? >> Well it's the way hat she's telling the story from experience from things that she sees and she reads. in the connoisseur. >> Maybe the way. That's the. I am feeling. But, we know that the I is moving around. made of trees. >> The I of the poet. In the first one here, the I am here, so [inaudible].
>> How does that lead us into the rest of the poem? So what do we do with the second one. And then at the end it feels like all of these collectively cohere in a being in fiction or in the imagination. Do you see what I'm getting at? >> Well, the way I read it, starting out with being in a church, as the setting. >> We've moved to a more, it seems like a setting of pagan ritual. This is the I we always, that we conventionally expect. >> This poem and this being the writing of the poem. Instruction. It's much easier than it seems!
Emily was describing what in a normal consistent I what we would do. Four piece is, and then, the fifth part seems to be a memory. Sorry [inaudible] like, time to enter a story for tonight, so you can kind of like, come out of your. >> Yeah. So how would you, if you were forced to, characterize the I of the first stanza? >> Molly, what, what are some strategies that we use to deal with this, this Dickinsonian but also post modern aesthetic? It was like climbing a mountain to those of us who’d climbed one. >> And that's the here, I think. Every time you do it again you experience it again. Rae Armantrout, one of the founding members of the West Coast group of Language poets, stands apart from other Language poets in her lyrical voice and her commitment to the interior and the domestic. >> Because it's in quotation marks so that one's a little easier to manage.
The I here is, is, is describing a, a, a person. >> Why I agree with [inaudible]. >> Yeah, and for you it's a way. But in this, its not. >> Try to see where you're trying to lead in here. The very flatness of portraits. >> Sure. Gretel lost. That's the clearing, that's what is the path, the way which brings here out of the trees. It's a, it's a tough question. And then one comes upon the story of origin of stories for this particular writer.
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And then thinking of it as abandonment, abandonment.
>> But if we want that not to be continuous, where is the seed to come from? Writing assignment #1 is open for submission between 9 AM on 9/13/20 and 9 AM on 9/20/20; after that, peer reviews will be submitted any time between 9 AM on 9/21/20 and 9 AM on 9/27/20. with our own fame, our escapes, the easy way.
What kind of statement is it? I am here being Jesus. >> So what is the memory here? Emotion is being said. It's a diary for feelings and in recording for the I. Where's that coming from? >> This is, this is the, this is the, yes Molly this is the scene of instruction. >> What does it mean to have so many different voices appear in the same short poem? >> Well yes and no. Okay. >> Being abandoned in the story. I mean what's Whitmanian here is the. When we think of this as coming from somewhere else, what kind of statement is it? Join us and try it! >> Or of course the way. And so going through it and some, the way we've sort of developed a coherence among the many different I's is, is reassuring and gratifying in a way. This is very confusing. Were you surprised to learnthat you could swapan ‘i’ for an eye,and ‘a’ for an apple? >> Well it establishes the fact that the location of the I sort of physically or existentially is contested in like every possible way.
She's got a notebook of overheard statements, or curious locutions, which she then reports to us from different subjectivities. Kelly Writers House >> To me it expresses a mode of existence in the, the current times.
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