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Collected Later Poems by Christopher Middleton

By Christopher Middleton

August Kleinzahler says, Christopher Middleton is, and is still, a stunning guy. One infrequently is familiar with the place to begin...' There are few dangers Middleton won't take up his poems. for 6 many years and extra he has exposed new dimensions in language. the decade has been one in all non-stop discovery and extension. His English is an open medium, responding to Arabic, German, Spanish, French and different media. And English is eloquent in its nonsense up to in its feel. His poems don't linger within the dank alleyways of self: he's regularly a maker and a shaper, of items that develop into sturdy assets for the reader, that refine and expand how we predict, see and believe via shaped language.

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Sample text

Walter Pach. Much closer to Stevens than was van Geyzel or Vidal— those two long-term correspondents whom Stevens would never meet in person—was the art collector and critic Pach, "an old friend of mine" (L 490). 3 Having spent part of the year in Europe, periodically reporting back to Stevens about fresh young painters and writers there, Pach was now compelled to remain in New York; in fact, despite his general authority on all things French, in 1939 and 1940 he would have known only as much of the immediate troubles as Stevens knew.

Stevens continued: I suppose that, in the last analysis, my own main objective is to do that kind of thinking. On the other hand, the sort of poem that I have in the winter number of THE KENYON REVIEW, from which every bit of anything of that sort has been excluded, also has its justifications. In a world permanendy enigmatical, to hear and see agreeable things involves something more than mere imagism. One might do it deliberately and in that particular poem I did it deliberately. (L 346; emphasis added) How did Stevens intend for his Maginot Line-to-poetry analogy to serve as an explanation for Simons that the goal of his own recent writing had been indeed "to do that kind of thinking"?

Much closer to Stevens than was van Geyzel or Vidal— those two long-term correspondents whom Stevens would never meet in person—was the art collector and critic Pach, "an old friend of mine" (L 490). 3 Having spent part of the year in Europe, periodically reporting back to Stevens about fresh young painters and writers there, Pach was now compelled to remain in New York; in fact, despite his general authority on all things French, in 1939 and 1940 he would have known only as much of the immediate troubles as Stevens knew.

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