Spent some time in a clinic today, the waiting turning into an interesting duration (every time I encounter the word duration I think of Kenneth Koch staring off into space during an interview saying, “everything lasts a certain period of time….that’s very odd”)
The recent announcement that Herta Muller won the 2009 Nobel Prize in Literature came as a huge surprise to me as I’m sure it did to many Americans. While Muller has written twenty books, only 5, according to the New York Times, have been translated into English. The tiny percentage of Muller’s work translated into English is hardly an aberration. Rather, it is a sad symptom of a much larger problem. There has been a steady decline in the number of literary works translated into English, and in the United States the decline has perhaps been even more precipitous than in other English speaking nations.
August is the month for star-gazing, and what better way to prepare for the Perseids than to spend part of this horrid sun-lit day reading about the great Romantic scientists? In her new article, “Keats in Space,” Molly Young explains that the work of William and Caroline Herschel, Sir Joseph Banks, Humphry Davy, and Mungo Park all took inspiriation from the same sense of adventure and awe as Shelley, Coleridge, Keats, and the Wordsworths. Has there ever been–or will there ever be again–such a correspondence between poetry and science? Read it here and wonder.
The Top Ten Most-Read Articles on poetryfoundation.org
Of all the articles on poetryfoundation.org, these received the most page views:
1. “Show Your Work” by Matthew Zapruder
2. “Going Negative” by Jason Guriel
3. “Poetry Can Be Any Damn Thing it Wants” by Mary Ann Caws

Harriet asks me to wish you all the best in the new year, and to thank all the readers, bloggers and commenters who’ve stopped by these last twelve months and more – please do keep coming back!
In the new year’s resolution department, she also wants me to remind everyone to be kind as circumstances permit: to fortify and express your passions without injury to those with whom you find disagreement. H. loves the differing viewpoints represented here, but reserves the right (hardly ever exercised, in fact – a tribute to those who put in their two cents or flarf-dollars here!) to refrain from publishing remarks that aim to be hurtful and little more. You know, name-calling, etc.
I’d like to add my own warm wishes on behalf of Poetry, and especially to thank some Poetry Foundation folks who’ve helped create this interesting place but have moved on to other poetical pursuits, namely Emily Warn, Nick Tremelow, Elizabeth Stigler, and Milan Gagnon. We’ll miss them, but hope they’ll continue to drop by…
And now, a snippet of an new year greeting by W.H. Auden:
I should like to think that I make
a not impossible world,
but an Eden it cannot be:
my games, my purposive acts,
may turn to catastrophes there.
If you were religious folk,
how would your dramas justify
unmerited suffering?
Here’s wishing you a happy ‘09!

Harriet has been experiencing technical difficulties the past several days, meaning our writers couldn’t post, and we couldn’t publish your comments. We’ve resolved the problem, so look out for a barrage of new entries.
In the Spring issue of American Poet (put out by the Academy of American Poets) Lyn Hejinian gave an interesting answer to what is by now (especially around these offices) a rote question. She was asked, “What are some creative ways to promote poetry?” to which she responded:
Poetry doesn’t need promotion. People need time. A revolutionary way to promote poetry might be to criminalize capitalism’s theft of people’s time.
It’s an answer that brings to bear the issue of poetry’s place in our wider culture and one which raises lots of terrific questions. Should poetry be something that is sold to consumers just as any other product, or is it indeed something special, something that carves out space in our daily lives, apart from all the buying and selling that seems to occupy us today?
“Concepts, too, have feelings,” Carter Ratcliff says in his afterword to “Arrivederci, Modernismo:”
I am not saying that a concept — “number,” for example, or “constitutionality” — is literally capable of emotions. What I mean is that there is an emotional tone to the understanding of such things.
An art critic, a writer who specializes in the analysis of mute artworks, who intuits the messages and emotional tenor of physical objects — perhaps such a writer is more comfortable talking about “emotions” in this broad way. But by 1974, when the poem first appeared, Her Majesty Modernismo had already been deposed by poets who said “I wanted to be more myself,” including James Merrill, who went from writing poems such as “The Black Swan” to writing more personal, personable, poems that explored — among many other things, of course — his immediate family. I could never really understand this historic shift.
About half our readers come from search engines and other places looking for poems to post on their blogs. Here’s a few linking to us today:
1. Can’t you put up some more?
Chris Frizzale on the The Stranger’s blog complains about our Heather McHugh selection. What he might not understand is the complicated world of poetry permissions.
Anselm Berrigan
Abigail Deutsch
Tonya Foster
Melissa Friedling
John S. O'Connor
Barbara Jane Reyes
Amber Tamblyn
Edwin Torres
Cathy Halley
Michael Marcinkowski
Travis Nichols
Fred Sasaki
Don Share
Señor Smith to you. (1)
Vladimir, Ron, and Gregori (4)
dubious poetry: the palin comparison (3)
To Vaya in the Viva of Time (2)
Indie Publishing: Two Questions, Many More... (5)
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