{"product_id":"reel-verse-isbn-9781101908037","title":"Reel Verse","description":"\u003cb\u003eA unique Pocket Poets anthology of a hundred years of poetic tributes to the silver screen, from the silent film era to the present.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe variety of subjects is dazzling, from movie stars to bit players, from B-movies to Bollywood, from Clark Gable to Jean Cocteau. More than a hundred poets riff on their movie memories: Langston Hughes and John Updike on the theaters of their youth, Jack Kerouac and Robert Lowell on Harpo Marx, Sharon Olds on Marilyn Monroe, Louise Erdrich on John Wayne, May Swenson on the James Bond films, Terrance Hayes on early Black cinema, Maxine Kumin on \u003ci\u003eCasablanca,\u003c\/i\u003e and Richard Wilbur on \u003ci\u003eThe Prisoner of Zenda\u003c\/i\u003e. Orson Welles, Leni Riefenstahl, and Ingmar Bergman share the spotlight with Shirley Temple, King Kong, and Carmen Miranda; \u003ci\u003eBonnie and Clyde\u003c\/i\u003e and Ridley Scott with \u003ci\u003eRoshomon\u003c\/i\u003e, Hitchcock, and Bresson. In \u003ci\u003eReel Verse,\u003c\/i\u003e one of our oldest art forms pays loving homage to one of our newest—the thrilling art of cinema.\u003cb\u003eCONTENTS\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eFOREWORD\u003c\/i\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003ePOPCORN PALACES\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e Meena Alexander, “South India Cinema”\u003cbr\u003e John Allman, “Loew’s Triboro”\u003cbr\u003e Robert Hayden, “Double Feature”\u003cbr\u003e Robert Hershon, “1948: Saturdays”\u003cbr\u003e Edward Hirsch, “The Skokie Theater”\u003cbr\u003e Langston Hughes, “Movies”\u003cbr\u003e Esther Lin, “Poem Ending in Antarctica”\u003cbr\u003e Frank O’Hara, “Ave Maria”\u003cbr\u003e Theodore Roethke, “Double Feature”\u003cbr\u003e Jon Tribble, “Concessions”\u003cbr\u003e John Updike, “Movie House”\u003cbr\u003e Ellen Bryant Voigt, “At the Movies, Virginia, 1956”\u003cbr\u003e \u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eFEATURE PRESENTATIONS\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e Amy Clampitt, “\u003ci\u003eThe Godfather\u003c\/i\u003e Returns to Color TV”\u003cbr\u003e Martha Collins, “Meanwhile”\u003cbr\u003e Jane Cooper, “Seventeen Questions About \u003ci\u003eKing Kong\u003c\/i\u003e”\u003cbr\u003e Denise Duhamel, “\u003ci\u003eAn Unmarried Woman\u003c\/i\u003e”\u003cbr\u003e Amy Gerstler, “\u003ci\u003eThe Bride Goes Wild\u003c\/i\u003e”\u003cbr\u003e Allen Ginsberg, “\u003ci\u003eThe Blue Angel\u003c\/i\u003e”\u003cbr\u003e Juliana Gray, \u003ci\u003e“Rope”\u003c\/i\u003e\u003cbr\u003e George Green, “Art Movies: \u003ci\u003eThe Agony and the Ecstasy\u003c\/i\u003e”\u003cbr\u003e Richard Howard, “\u003ci\u003eKing Kong\u003c\/i\u003e (1933)”\u003cbr\u003e Allison Joseph, “\u003ci\u003eImitation of Life\u003c\/i\u003e”\u003cbr\u003e Ron Koertge, “Aubade”\u003cbr\u003e Maxine Kumin, “\u003ci\u003eCasablanca\u003c\/i\u003e”\u003cbr\u003e Gerry LaFemina, “Variations on a Theme by Ridley Scott”\u003cbr\u003e Laura McCullough, “\u003ci\u003eSoliloquy with Honey\u003c\/i\u003e: Time to Die”\u003cbr\u003e John Murillo, “\u003ci\u003eEnter the Dragon\u003c\/i\u003e”\u003cbr\u003e Stanley Plumly, “\u003ci\u003eThe Best Years of Our Life\u003c\/i\u003e”\u003cbr\u003e Anna Rabinowitz, “from Present Tense”\u003cbr\u003e Philip Schultz, “Shane”\u003cbr\u003e May Swenson, “The James Bond Movie”\u003cbr\u003e Susan Terris, “Take Two: \u003ci\u003eBonnie \u0026amp; Clyde\u003c\/i\u003e\/Dashboard Scene”\u003cbr\u003e Richard Wilbur, “\u003ci\u003eThe Prisoner of Zenda\u003c\/i\u003e”\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003ci\u003eMORE STARS THAN IN HEAVEN\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e Frank Bidart, “Poem Ending with a Sentence by Heath Ledger”\u003cbr\u003e Christopher Buckley, “For Ingrid Bergman,”\u003cbr\u003e Gerald Costanzo, “Fatty Arbuckle”\u003cbr\u003e Marsha de la O, “Janet Leigh is Afraid of Jazz”\u003cbr\u003e Louise Erdrich, “Dear John Wayne”\u003cbr\u003e Sonia Greenfield, “Celebrity Stalking”\u003cbr\u003e Patricia Spears Jones, “Hud\u003ci\u003e” \u003c\/i\u003e\u003cbr\u003e Jack Kerouac, “To Harpo Marx”\u003cbr\u003e David Lehman, “July 13 from \u003ci\u003eThe Daily Mirror\u003c\/i\u003e”\u003cbr\u003e Vachel Lindsay, “Mae Marsh, Motion Picture Actress” \u003cbr\u003e Patricia Lockwood, “The Fake Tears of Shirley Temple”\u003cbr\u003e Robert Lowell, “Harpo Marx”\u003cbr\u003e Sharon Olds, “The Death of Marilyn Monroe”\u003cbr\u003e William Pillin, “You, John Wayne”\u003cbr\u003e Nicole Sealey, “An Apology for Trashing Magazines in Which You Appear”\u003cbr\u003e William Jay Smith, “Old Movie Stars”\u003cbr\u003e John Wain, “Villanelle for Harpo Marx”   \u003cbr\u003e John Wieners, “Garbos and Dietrichs”   \u003cbr\u003e \u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eB MOVIES \u0026amp; BIT PLAYERS\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e Angela Ball, “To Lon Chaney in \u003ci\u003eThe Unknown\u003c\/i\u003e”\u003cbr\u003e Gregory Djanikian, “Movie Extras”\u003cbr\u003e Cornelius Eady, “Sam”\u003cbr\u003e Martín Espada, “The Death of Carmen Miranda”\u003cbr\u003e Kenneth Fearing, “St. Agnes’ Eve”\u003cbr\u003e Edward Field, “Curse of the Cat Woman” \u003cbr\u003e Richard Frost, “Horror Show”\u003cbr\u003e Howard Moss, “Horror Movie”\u003cbr\u003e Ogden Nash, “Viva Vamp, Vale Vamp”\u003cbr\u003e Robert Polito, “Three Horse Operas”\u003cbr\u003e Virgil Suarez, “Harry Dean Stanton is Dying”\u003cbr\u003e David Trinidad, “Ode to Thelma Ritter”\u003cbr\u003e William Trowbridge, “Elisha Cook, Jr.”\u003cbr\u003e Chase Twichell, “Bad Movies, Bad Audience”\u003cbr\u003e Marcus Wicker, “Love Letter to Pam Grier”\u003cbr\u003e \u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eAUTEURS\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e Paul Carroll, “Ode to Fellini on Interviewing Actors for a Forthcoming Film”\u003cbr\u003e René Char, “Antonin Artaud”\u003cbr\u003e Robert Creeley, “Bresson’s Movies”\u003cbr\u003e Robert Duncan, “Ingmar Bergman’s \u003ci\u003eSeventh Seal”\u003c\/i\u003e\u003cbr\u003e James Franco, “Editing”\u003cbr\u003e Major Jackson, “After Riefenstahl”\u003cbr\u003e Claudia Rankine, “from \u003ci\u003eDon’t Let Me Be Lonely\u003c\/i\u003e”\u003cbr\u003e Jean-Mark Sens, “In De Sica’s Bicycle Thief”\u003cbr\u003e Vijay Seshadri, “Script Meeting”\u003cbr\u003e David St. John, “from \u003ci\u003eThe Face, XXXVI\u003c\/i\u003e”\u003cbr\u003e Timothy Steele, “Last Tango”\u003cbr\u003e Gerald Stern, “Orson”\u003cbr\u003e Michael Waters, “Blue Ankle”\u003cbr\u003e David Yezzi, “Stalker”\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003ci\u003eFLASHBACKS\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e Kim Addonizio, “Scary Movies”\u003cbr\u003e Elizabeth Alexander, “Early Cinema”\u003cbr\u003e John Berryman, “Dream Song #9”\u003cbr\u003e Ryan Black, “This is Cinerama”\u003cbr\u003e Richard Brautigan, “Mrs. Myrtle Tate, Movie Projectionist”\u003cbr\u003e Kurt Brown, “Silent Film, DVD”\u003cbr\u003e Elena Karina Byrne, “\u003ci\u003eEasy Rider\u003c\/i\u003e”\u003cbr\u003e Nicholas Christopher, “Atomic Field, 1972 #6”\u003cbr\u003e Rita Dove, “Watching \u003ci\u003eLast Year at Marienbad\u003c\/i\u003e at Roger Haggerty’s House in Auburn, Atlanta”\u003cbr\u003e D. J. Enright,“A Grand Night”\u003cbr\u003e Aniela Gregorek, “Cinema”\u003cbr\u003e Joseph O. Legaspi, “At the Movies with My Mother”\u003cbr\u003e Michael McFee, “My Mother and Clark Gable on the World’s Most Famous Beach”\u003cbr\u003e Mihaela Moscaliuc, “Watching \u003ci\u003eTess \u003c\/i\u003ein Romania, 1986”\u003cbr\u003e Paul Muldoon, “The Weepies”\u003cbr\u003e Carol Muske-Dukes, “Unsent Letter 4”\u003cbr\u003e Tom Sleigh, “Newsreel”\u003cbr\u003e Elizabeth Spires, “Mutoscope”\u003cbr\u003e Michael Paul Thomas, “Movies in Childhood”\u003cbr\u003e David Wojahn, “Buddy Holly Watching \u003ci\u003eRebel Without a Cause\u003c\/i\u003e”\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003ci\u003eREMAKES\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e Billy Collins, “The Movies”\u003cbr\u003e Carol Ann Duffy, “Queen Kong”\u003cbr\u003e Albert Goldbarth, “Survey: Frankenstein Under the Front Porch Light”\u003cbr\u003e Kimiko Hahn, “The Continuity Script: \u003ci\u003eRashomon\u003c\/i\u003e”\u003cbr\u003e Bruce F. Kawin, “Old Frankenstein”\u003cbr\u003e Glyn Maxwell,  “Disney’s Island”\u003cbr\u003e Rajiv Mohabir, “Bollywood Confabulation”\u003cbr\u003e Geoffrey O’Brien, “Voice Over”\u003cbr\u003e Michael Ondaatje, “King Kong Meets Wallace Stevens”\u003cbr\u003e Elise Paschen, “Red Lanterns”\u003cbr\u003e Matthew Zapruder, “Frankenstein Love”\u003cbr\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eREEL LIFE\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e David Baker, “Violence”\u003cbr\u003e Tom Clark, “Final Farewell”\u003cbr\u003e Lucille Clifton, “Come Home from the Movies”\u003cbr\u003e Hart Crane, “Chaplinesque”\u003cbr\u003e Stephen Dunn, “At the Film Society”\u003cbr\u003e Lynn Emanuel, “Blonde Bombshell”\u003cbr\u003e Robert Hass, “Old Movie with the Sound Turned Off”\u003cbr\u003e Terrance Hayes, “Variation on a Black Cinema Treasure: \u003ci\u003eBroken Earth\u003c\/i\u003e” \u003cbr\u003e Marie Howe, “After the Movie”\u003cbr\u003e Steven Huff, “Merton, Lax and My Father”\u003cbr\u003e Ann Inoshita, “TV”\u003cbr\u003e Weldon Kees, “Subtitle”\u003cbr\u003e Haji Khavari, “Upon the Actor’s Longing for the Alienation Effect”\u003cbr\u003e John Lucas, “Hollywood Nights”\u003cbr\u003e Donna Masini, “A Fable”\u003cbr\u003e William Matthews, “A Serene Heart at the Movies”\u003cbr\u003e Eileen Myles, “Absolutely Earth”\u003cbr\u003e Ishmael Reed, “Poison Light”\u003cbr\u003e David Rigsbee, “Lincoln”\u003cbr\u003e Muriel Rukeyser, “Movie” \u003cbr\u003e Grace Schulman, “The Movie”\u003cbr\u003e Gary Soto, “Hands”\u003cbr\u003e George Yatchisin, “Single, Watching Fred and Ginger”HAROLD SCHECHTER is a retired professor of American literature and culture at Queens College, CUNY, and the author of several mystery novels featuring Edgar Allan Poe, as well as coeditor of two previous Everyman's Library Pocket Poets. He lives in New York City.\u003cbr\u003eMICHAEL WATERS is the author of numerous poetry collections, including the \u003ci\u003eLos Angeles Times\u003c\/i\u003e Book Prize finalist \u003ci\u003eDarling Vulgarity\u003c\/i\u003e (2006) and \u003ci\u003eParthenopi: New and Selected Poems\u003c\/i\u003e (2001). His honors include fellowships from the Fulbright Foundation, the National Endowment for the Arts, and the Guggenheim Foundation, and five Pushcart Prizes. Waters teaches at Monmouth University and Drew University. He lives in Ocean, New Jersey.\u003cb\u003eForeword\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e If, as Henry David Thoreau says, “our truest lives are when we are in dreams awake,” then millions of people have led, if not their truest, certainly their most vivid lives in darkened theaters, immersed in the transporting dreams unreeling before their open eyes. The narrator of Walker Percy’s classic novel, \u003ci\u003eThe Moviegoer\u003c\/i\u003e, speaks for many in recalling the high points of his life: “Other people, so I have read, treasure memorable moments in their lives: the time one climbed the Pantheon at sunrise, the summer night one met a lonely girl in Central Park and achieved with her a sweet and natural relationship, as they say in books. I, too, once met a girl in Central Park, but it is not much to remember. What I remember is the time John Wayne killed three men with a carbine as he was falling to the dusty street in \u003ci\u003eStagecoach\u003c\/i\u003e. And the time the kitten found Orson Welles in the doorway in \u003ci\u003eThe Third Man\u003c\/i\u003e.”\u003cbr\u003e                   \u003cbr\u003eThat poets—practitioners of what is traditionally viewed as the most refined of arts—should devote their writings to a medium as demotic as the movies might seem paradoxical at a glance. But as the poet Vachel Lindsay was the first to acknowledge, the deities of the ancient pantheon have been replaced in the modern world by the gods and goddesses of the silver screen. Far from being mere entertainment, the movies constitute the myths of our time. In the century since the birth of the Hollywood studios, poets, as the works collected here attest, have been deeply engaged with the movies, exploring the countless ways those celluloid dreams have nourished, excited, and shaped the modern imagination.\u003cbr\u003e  \u003cbr\u003e—Harold Schechter and Michael Waters","brand":"Everyman's Library","offers":[{"title":"Default Title","offer_id":48233507881189,"sku":"NP9781101908037","price":14.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781101908037.jpg?v=1767735569","url":"https:\/\/k12savings.com\/es\/products\/reel-verse-isbn-9781101908037","provider":"K12savings","version":"1.0","type":"link"}