rae armantrout, the way

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rae armantrout, the way


The speaker is speaking to us from a card in the pew pocket. Anna, how do you deal with this? To the small gasp of this clearing. ModPo is open all year, so you can enroll now, or any time, and join us. Then reference to the title maybe the way the first answer refers to her like a religious way of being. That's the clearing, that's what is the path, the way which brings here out of the trees. As a child, I was abandoned in a story made of trees. Everyone Should at least One Course from Coursera. Armantrout's writing in her latest volume, Versed, will thus be familiar to her longtime readers for its way of holding meaning (and identification) in uneasy suspension. >> To me it expresses a mode of existence in the, the current times.

because of a bad winter. Max what's a what do you suggest someone whose never read a poem in which the I is coming from everywhere.

>> I, I think it's, it's hard to say that anything could be the way, but I think it's, it's certainly a, an arguable way of being. >> Try to see where you're trying to lead in here. She lost herself in the story. >> I think Here is religion. About this Poet This is the, she's recording either the moment or the sort of moment when she was a girl and she lost her, she had that first experience of super-involvement, and she was abandoned. >> That, being, being that they're always being read the story. Of remembering your mother reading to you. And then one comes upon the story of origin of stories for this particular writer. Nice, I guess I would say finally that the pathos of abandonment. >> I, I think it's, it's hard to say that anything could be the way, but I think it's, it's certainly a, an arguable way of being. Grease is the Word: A Discussion of Rae Armantrout's "The Way" From Poem Talk July 2008 Hosted by Al Filreis and featuring poets Charles Bernstein, Rachel Blau DuPlessis, and Ron Silliman. Now we go to the last section, there's an I. >> Now, a little while ago, Anna did her almost automatic reference, to the self reference of here, but you didn't actually say what here means. >> As a child, I was abandoned, in the story. >> And then Greece seems to be this very free flowing musical way of being. >> Sort of being in the story. Were you surprised to learnthat you could swapan ‘i’ for an eye,and ‘a’ for an apple? And that is the way, the way, the path. >> So we have one kind of I in the first, we have a very different kind of I in the second, what about the third one Max? The I of the second stanza is someone.

Uh-oh another one of those words Amaris. But he. Sorry [inaudible] like, time to enter a story for tonight, so you can kind of like, come out of your. Born in Vallejo, California, Armantrout earned her BA at the University of California, Berkeley—where she studied with Denise Levertov—and she earned her MA at San Francisco State University. Right, inclusivity.

>> Maybe. Where's that coming from?

Not all of us, of course, only the first few. I'm a big fan of Rae Armantrout and love the way she uses physics in her poetry. flubbing behind the scenes. >> A story made of trees. The forest, the woods and rather than a statement, we have a small gasp which is the moment of dissociation or the moment of pause.
>> So you. which was really our infatuation. So the clearing could be. Rae Armantrout, “The Way” from of this clearing.

>> Yeah, and for you it's a way. For Armantrout's state, the way. Rae Armantrout was born in Vallejo, California, in 1947, and was part of the first generation of Language poets on the West Coast. When in fact, this is sort of a blessing. >> We've moved to a more, it seems like a setting of pagan ritual. But in this, its not. Maybe they did it the way we’d put on. >> Being abandoned in the story.

>> Into imagination. >> Molly, what, what are some strategies that we use to deal with this, this Dickinsonian but also post modern aesthetic? >> It doesn't annoy me because what you have, the way I go into it is, knowing that there is no narrative and so, I am not looking for a threat to carry me through the whole poem, treating it in the chunks, that it is in.
So, perhaps the idea that it's in quotations is the fact that we have her return to the realm of fiction. Card in the pew pocket announces I am here. And the voices may be different, but I think they're coming from completely different people.

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rae armantrout, the way

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