The Tygers of Wrath Are Wiser than the Velvet-Nosed Horses of Instruction

poetry

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All the Pretty Horses

Just

one

coward’s

step

away

from fucking shit up

and liking it.

Just

wanting you to hurt

more

than I do.

No, not more,

but just as I do.

I need you

to share my pain

exactly.

And all you positive horses,

go right ahead

and shy away

as if I had whispered,

“Run or die!” into your

soft insipid velvet faces.

But I see

one of you stood

with me,

one of you bore the pain,

one of you hurts like I do…

exactly.

Thank you

for bearing,

for being my pain

instead of turning it

post haste

into another

spin at the wheel

and cashing me in

like a casino chip,

Thank you.

You know who thou art.

 

A slightly different draft:

alltheprettyhorses

 

Anthony Madrid Wonders ‘What Is Poetry For?’

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Paris Review Daily has now published two of Anthony Madrid’s quasi-kōan sets, “Both speech and silence are involved in transcendent detachment and subtle wisdom. How can we pass through without error?” (in July) and “I always remember Jiangnan in May; where the partridges call, the hundred flowers are fragrant.” (Right this very second! (ish)) More: Public Case 6: Ancient Chinese Our teacher said: “Has anyone ever noticed that many of the most attractive ancient Chinese poets have the same ideas about poetry as modern American high school students? Anyhow, the themes are the same. What am I doing today. How am I feeling. What’s my philosophy. What can I see from where I’m sitting. What just happened. I am kind of a loser. What are my favorite quotes.” One of the students said: “James Schuyler.” Comment. It is hard for twenty-first-century USA poets to really understand old Chinese poetry: no surprise there. The surprise is that we find our own childhoods as difficult to “relate to” as the literary world of premodern China. We rub our eyes in disbelief when we have anything in common with either. Tao Qian, James Schuyler, our own sixteen-year-old selves—of course they write about what they can see from where they’re sitting. What else can be seen? The truth is almost everyone has almost everything in common. The main exception is the people who are “too smart for that.” They make a point of not having anything in common with anybody. Continue at Paris Review.

Source: Anthony Madrid Wonders ‘What Is Poetry For?’

Digital Public Library of America » Blog Archive » Back to School at DPLA

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What’s on your checklist at the start of this school year?✓ Blank notebooks✓ Sharpened pencils,✓ Free, online ready-to-use education resources? Check! ‘

Source: Digital Public Library of America » Blog Archive » Back to School at DPLA

And this: Primary Source Sets.

And this: Jitterbug and Swing Dance.

And this:  Get Connected.

And this: Spread Your Open Resource Wings.

And this: A Map to the DPLA.

punkasslibrarians

 

 

 

 

Infinite Reciprocation: What to Do with the P22 Music Text Composition Generator

CLMOOC, Responding, Tools, WKUWP

To George Station in particular and all other infinite gamers out there: here is one of those tools that is delightful but not sure what its function is. What do you do with it?

P22 Music Text Composition Generator

Kevin Hodgson did this with it:

And I musitexted the Bill of Rights here:

So, here is the game I proposed to George Station on Facebook a short time ago and that I propose to you ‘dear reader’–find a use for the damned thing besides the joy of play (which I feel is sufficient).

Use the accompanying Hackpad below to add to it (or use the Google Doc here).