which helped popularize performance poetry in the 1990s and has influenced West Coast writing since. Inspired by an essay Locklin co-wrote about Field and their kind of poem, Stand Up placed a premium on clarity, honesty, humor and performability.the classroom, the literary spirit was epitomized by Locklin’s casual, “what’s happening?” approach. “The idea was to engage the students without any kind of pedagogical trickery,” Klink said. “It was, ‘I’m here, I’m interested.
Tricia Cherin, a Cal State Dominguez Hills English professor emeritus, was an undeclared major when she first encountered Locklin’s banter and guided tour of literature. “It was so wonderful, I walked down the hill and declared myself an English major,” she said.co-founded the legendary L.A. rock band the Blasters and became an admired songwriter and guitarist, he’d considered himself “a dumbbell student.
Meanwhile, Locklin’s reputation as a poet had grown with the “mimeo revolution” of little magazines and small presses. Along with Bukowski and Ron Koertge, Locklin’s friend from his Arizona postgrad days, Locklin attracted a devoted readership in the Wormwood Review, one of the biggest of the little magazines.
“i know this isn’t much of an elegy. / but then again some poems exceed their subjects / and others, like this one, are doomed to fall short, / because for my money these guys are no less worthy / of remembrance than lycidas or thyrsis.” It concludes: “if I don’t write their requiem, / who the f— do you know that will?”
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