"Poetry so bad it's Good," by Abigail Deutsch

What are we to do with lines like these?

We have seen thee, queen of cheese,
Lying quietly at your ease,
Gently fanned by evening breeze,
Thy fair form no flies dare seize.

All gaily dressed soon you'll go
To the great Provincial show,
To be admired by many a beau
In the city of Toronto.

We might grow slightly nauseated. We might (who knows?) get hungry. We might gleefully illuminate the poetic palsies that weaken the frame of this work, James McIntyre's "Ode on the Mammoth Cheese": the clanging rhymes, the collapsing meter, the misguided coronation of a Canadian dairy queen.

Alternatively--as we reread in delight, as we probably just did--we might note the workings of a mysterious alchemy. Just as milk ferments into cheese, so can bad poetry, in this and other cases, transform into something rather enjoyable. Like a pungent Roquefort, bad poetry can stink in marvelously complex ways.

Read remainder of the article HERE on the Huffington Post.

Book Review: "Quick Change" by Abigail Deutsch

Excerpt & photograph courtesy: N1BR

"In a 1998 essay recently reprinted in his book Close Calls with Nonsense, critic Stephen Burt christened the "Elliptical school" of poetry, which encompasses writers prone to "hinting, punning, or swerving away from a never-quite-unfolded backstory," who "believe provisionally in identities (in one—or in at least one—‘I' per poem)," but who, amid their "fast-forward and cut-up," "suspect the I's they invoke." He grants only an elliptical mention to April Bernard, noting that he wishes he had room to quote her first volume, Blackbird Bye-Bye (1989). That book embraces a rhetoric of zig-zags, shifting swiftly from one image or sentiment to the next, featuring speakers and selves who flicker in and out of poems, intimate yet unidentifiable."

CLICK HERE TO READ MORE.