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August 2023

 Completed:

John Ashbery, The Double Dream of Spring
Anne Carson, Autobiography of Red
Anne Carson, Decreation
Anders Carlson-Wee, The Low Passions
Franny Choi, Soft Science
Louise Gluck, Averno
Julian Gewirtz, Your Face My Flag
Susan Howe, My Emily Dickinson
Joanna Klink, Excerpts from a Secret Prophecy
Dong Li, The Orange Tree
Rowan Riccardo Philips, Heaven
Lee Ann Roripaugh, tsunami vs. the fukushima 50
Adam Scheffler, Heartworm
Solmaz Sharif, Customs
Danez Smith, Homie
Patricia Smith, Blood Dazzler
Mai der Vang, Afterland
Jenny Xie, The Rupture Tense
Monica Youn, Blackacre (reread)


In progress:

Daniel Borzutsky, The Performance of Becoming Human
Dionne Brand, Nomenclature
Alex Dimitrov, Together and by Ourselves
Louise Gluck, Proofs and Theories
Jorie Graham, Runaway
Susan Howe, Quarry
Carl Philips, Then the War: Selected Poems
Lisa Robertson, Magenta Soul Whip
Mai der Vang, Yellow Rain
C.D. Wright, One Big Self

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February, March, April reading

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greatness

The NY Times has run an excellent article on greatness in poetry. It's always interesting to read NY Times on poetry -- there was a fascinating one about Jorie Graham's entrance to Harvard (Valhalla?) -- because NY Times believes in poetry, but is egoistic enough to be upset when it's confronted with something it doesn't understand. That's a very useful quality, because it respectfully/hesitantly calls a pear a pear, instead of some helium-filled blather. Maybe because of it, the article anointed only one great post-Eliot poet: Elizabeth Bishop. I'm pleased and agree. (There was some noise about Ashbery, but we'll see what happens 20 years after he's dead, which means in roughly 10 years. I mean, 21.) The criterion that article settled on for greatness is: “demonstrating the qualities that make poetry seem interesting and worthwhile to such a degree that subsequent practitioners of the art form have found her work a more useful resource than the work