Henri Cole’s Best of Both Worlds

Share on FacebookTweet about this on Twitter

Although many of the poems in Henri Cole’s Middle Earth are single-stanza free-verse sonnets, some of the moments I found most technically interesting involved indented lines. Take, for example, the opening poem, “Self-Portrait In A Gold Kimono:”

Born, I was born.

Tears represent how much my mother loves me,

shivering and steaming like a horse in rain.

My heart as innocent as Buddha’s,

my name a Parisian bandleader’s.

I am trying to stand.

Father is holding me and blowing in my ear,

like a glassblower on a flame.

Continue reading…

Share on FacebookTweet about this on Twitter

Tactics for Contemporary Sonnets

Share on FacebookTweet about this on Twitter

Contemporary sonnets are not easy to write.

Yet some have done it surprisingly well. Of the poems I liked best toward the latter half of this anthology, there seemed to be three general types of poems that employed either dense music to drown out the form; an “absurd” subject matter juxtaposed against the intricate, labyrinthine turns of the form; or a very faint adherence to the form, giving a vague echo or nod to the tradition while also breaking free.
Continue reading…

Share on FacebookTweet about this on Twitter