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Much in the way that the glint off the snow where I am can seem, some days, like (forgive me) a miracle, being able to read, in the comfort of one’s home, the following, can seem some days similarly luminous:
Our subject being Poetry, I propose to speak not only of the art in general but also of its species and their respective capacities; of the structure of plot required for a good poem; of the number and nature of the constituent parts of a poem; and likewise of any other matters in the same line of inquiry. Let us follow the natural order and begin with the primary facts.
Oh, not those facts again, some of you will surely say. Not again! Well, I can’t claim to be interested in them every day, but the notion that we have access to an intelligent dead person’s past thinking on a subject of some enduring seriousness however lately abjectly peripheral is, to me, today, remarkable.
What follows here, and there won’t be much, less argument then “argh,” is a sense I have some days not of the absolute peripherality of such concerns (I wouldn’t expect them to be central, mind) but the poverty of their examination and explication in the little center they occupy. There is, isn’t there, a blue river of truth out there to sit beside? And I cannot help but feel, some days, that too much energy goes not to its exploration and admiration but its aimless degradation. Serious scrutiny, deep study, careful inquiry: activities surely being undertaken with great frequency in many dark corners. And typically, the private seriousness that occasionally emerges as public usefulness is enough to make me feel that “Our subject being Poetry” is still a subject of our being.
I realize that this is altogether more elliptical than I’d do best to have it be. I mean to say that picking up, today, a book whose author is some several millennia dead and whose thoughts are still available to us is, today, a little more exciting than the appearance of the latest netbook, much though I covet it, emptily.
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
In Havana, the past year has been marked by a parade of bold-faced names from the north — John Kerry reopening the United States Embassy; Andrew Cuomo bringing a delegation of American business leaders; celebrities ranging from Joe Torre, traveling on behalf of Major League Baseball to oversee an exhibition game between the Tampa Bay Rays and the Cuban national team, to Jimmy Buffett, said to be considering opening one of his Margaritaville restaurants there. All this culminated with a three-day trip in March by Barack Obama, the first American president to visit Cuba since Calvin Coolidge in 1928. But to those who know the city well, perhaps nothing said as much about the transformation of political relations between the United States and Cuba that began in December 2014 as a concert in the Tribuna Antiimperialista.
Estimated portion of registered voters in Zimbabwe who are dead:
Honeybees can recognize individual human faces.
Pope Francis announced that nuns could use social media, and a priest flew a hot-air balloon around the world.
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“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”