Titlebook: Queer Lyrics; Difficulty and Closu John Vincent Book 20021st edition Palgrave Macmillan, a division of Nature America Inc. 2002 America.lyr

结构

,The Magician’s Advance: Late Moore,random points. In a 1922 review, some of Moore’s first sustained critical attention, Harriet Monroe, the founder and editor of ., suggests that each Moore poem “begins as it ends and ends as it begins—a coruscating succession of ideas, with little curve of growth or climax” (Monroe, “Symposium” 214)

Popcorn

,Danced Undone: Performances of Exhaustion and Resignation in Crane’s Lyrics,xamined how he offers his closures as a model of living in meaning specific to homosexual subjects. He utilizes poetic materials, especially closure, to explore ecstasy that arises from and occurs simultaneously with a spoiled identity. In Chapter 4 I showed how Moore changed Crane’s poem “The Wine

灾祸

Abbreviate

Ingenuity

A Mirror at the End of a Long Corridor: Moore, Crane, Closure,n”) in its May 1926 issue. Moore cut the poem to less than half of its original length; Thomas Yingling suggests, with an oeuvre the size of Crane’s, this is “equivalent to deleting or rewriting one-fourth of a novel by Faulknerchrw(133) before publishing it” (. 108).

Dictation

mettlesome

Snags and Gags: Cruising the Difficult,the same way that generic claims about the whole of poetry are flawed. The excitement of invention and discovery would drop out of material whose most characteristic urge is toward invention and discovery.

Discrete

,Rhetorical Suspense, Sexuality, and Death in Whitman’s “Calamus” Poems,s of the reader, Whitman’s poems declare that the reader is holding “him,” not his book, in hand, and that for the right person he is wholly available. Similarly, he opines that the crucial ingredient that would make any man the proper recipient of his poems and affections “has always been waiting, latent in all men” (285).

Anticoagulants

,Reports of Looting and Insane Buggery behind Altars: John Ashbery’s Queer Poetics,iend,” “a lover,” or “the poet himself,” and when examining him as a love poet, critics make sure to consider the beloved as male.. These same critics, though, while they acknowledge that pronouns and reference are transformed in the aura of Ashbery’s sexuality, do little but remark the transformati

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