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By Alice Notley

Coming After gathers severe items via acclaimed poet Alice Notley, writer of Mysteries of Small Houses and Disobedience.

Notley explores the paintings of second-generation long island institution poets and their allies: Ted Berrigan, Anne Waldman, Joanne Kyger, Ron Padgett, Lorenzo Thomas, and others. those essays and experiences are one of the first to accommodate a new release of poets infamous for his or her refusal to criticize and theorize, assuming the stance that "only the poems matter." The essays are characterised by means of Notley's robust, compelling voice, which transfixes the reader even in the course of specialist aspect. Coming After revives the potential for the readable booklet of criticism.

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The poem is never used up. The pieces are deAnitely pieces; take the following passage from “West Is Left on the Map”: “dear chords of night: one is not rhymes but civil fur come to bliss late” this creature called god left one no ma boat sails into sun west is left on the map an endless warble of dreams The primary unit is the phrase not the word, and the initial, quoted couplet (which I take to be Hollo’s, since there’s no 49 reference to it in the deliciously fussy note apparatus) is composed of four phrases rather harmoniously at odds with each other.

At Apollinaire’s Tomb,” from The Big Something Do I believe Ron Padgett “saw” Apollinaire in such a way? Yes. In a Ave-part poem called “How to Be a Woodpecker,” pub34 lished both as a chapbook (Toothpaste Press, 1983) and in The Big Something, Padgett uses the “train of images” form to deal with problems of this his trademark method, as well as such issues as does one want to be a human being among others and like others. In part 1 the poet speaks of a wonderful sleep he once had in Florida: I had dropped off the deep edge of consciousness, here depicted as a cliff in big Montana, say.

I said “problem” above because it’s hard to keep knowing what to do with this constant change and novelty—it may become tiresome, not new (I speak as a practitioner again here); furthermore one does want to know the origin of images and does suspect that one might go nuts Anding it out, disappear into that origin, and one is already different enough from others in being so in touch with the imagination. Also an imaginative process that comes from so far inside can dispel the quotidian, and that’s partly why one seeks out the imagination in the Arst place, but what about expressions of warm feeling, direct feeling, plain tonal transparence?

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