Tag Archives: poetry

From Poe to Parker.

In my course, we’re transitioning. From one fractured poet to another, we’re transitioning.

From Poe to Parker.

So, I thought I’d present you with an imagistic representation of this literary trajectory.

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

{ Source }

On my summer reading list:

{ Source }

Peter Ackroyd is somewhat of a kindred spirit, frequently publishing wonderful material on tortured poets, even novels (Ackroyd’s Chatterton, for example, which I strongly recommend to anyone even remotely interested in the British Romantics).

Words of the Day: Edgar Allan Poe on poetical irritability

Edgar Allan Poe wrote about poetical irritability in his Fifty Suggestions, which was published in Graham’s Magazine in 1849, the year of Poe’s death:

hat poets (using the word comprehensively, as including artists in general) are a genus irritabile, is well understood; but the ruby, seems not to be commonly seen. An artist is an artist only by dint of his exquisite sense of Beauty — a sense affording him rapturous enjoyment, but at the same time implying, or involving, an equally exquisite sense of Deformity or disproportion. Thus a wrong — an injustice — done a poet who is really a poet, excites him to a degree which, to ordinary apprehension, appears disproportionate with the wrong. Poets see injustice — never where it does not exist — but very often where the unpoetical see no injustice whatever. Thus the poetical irritability has no reference to ” temper ” in the vulgar sense, but merely to a more than usual clear-sightedness in respect to Wrong: — this clear-sightedness being nothing more than a corollary from the vivid perception of Right — of justice — of proportion — in a word, of [beauty]. But one thing is clear — that the man who is not “irritable,” (to the ordinary apprehension, ) is no poet.

I gave this text to my students today — the first day of the new semester — in my Tortured Poet course, and I received some interesting responses. I love the emphasis on sensitivity to injustice… which lends itself, of course, to the Poet’s own feelings of victimization, sometimes self-inflicted.

And that’s what’s flitting through my mind right now, at 12:13AM.

More tomorrow.

Some links (hardly exhaustive, but a good little selection for you in case your Poe interest is piqued):

Poe Museum (Richmond, VA)
Edgar Allan Poe Society of Baltimore
“The Raven in the Frog Pond: Edgar Allan Poe and the City of Boston” (an exhibition at the Boston Public Library)
“The Great Poe Debate” via wbur.org (Boston’s NPR affiliate)

{ Blog Note }

I decided to delete my other (older) blog earlier this evening. It was there that I would post literary/academic/political/pop-cultural items, commonly including excerpts from literature, essays, articles, etc.. Over the past several months (since last summer, really), I started neglecting that blog and focusing all my energy and passion on Words and Eggs, which I’ve loved. But I’m thinking that it has come time to do a bit of melding – or at least adding some adhesive to these two divisions of my Self (which, admittedly, stretch well beyond the blogging world: my artistic vs. my “academic” selves). So, I just wanted to let you all know that you can expect some more, well, WORDS. Whether literary or political or… whatever. And today’s words belong to Mr. Poe. And I hope you enjoyed listening to them.

Faber & Faber book cover designs

Lovely book cover designs from Faber Books’ Photostream:

The Artwork of Louise Best

Louise Best is an artist, a diarist, a designer of books and all things awesome, and the creator of one of my favorite new-to-me blogs, called Loulou Loves Books. There, Louise/Loulou offers us snippets of life “from behind the hedge and beyond,” whether in postcard, journal, or typewritten form. No matter what the medium, the effect is charming and lovely. Thank you to @Typoretum for introducing me to Ms. Loulou!

august week 3


the mad ones


august week 2 diary

16 aug 09



hong kong sketch book



I love the Griffin & Sabine quality of the postcards and the journals. I just love handmade collage-y mail in general. So lovely.

All images above have been graciously borrowed from Loulou’s BLOG and SHOP; however, I strongly strongly encourage you to visit her in the following realms:

ETSY SHOP!!!!!!!!!!!!!!!!! (can’t sufficiently exclaim my excitement here…)

Instinct and Grace…

I feel bad because I can’t recall who tipped me off about Kylie Johnson‘s brilliant ceramic and poetic creations. I promise I would give credit, but apparently I am deficient in short-term memory. Not unlike Drew Barrymore in 50 First Dates. Except I barely ever have one first date. But that’s beside the point. The point being that Kylie Johnson’s words and creations are uniquely lovely and memorable. You’ll see what I mean with the following photos, which are all borrowed from her blog, aptly called Instinct & Grace. Please also pay frequent visits to Kylie’s online store, Paper Boat Press, where you can not only purchase her book of poetry, Count Me the Stars, but also all of her ceramic and non-ceramic creations!

Enjoy feasting your eyes…


small tag POS

things poetry pot

blue word


picasso birds

quote pencil (heart)




quote tag raw

OK, I need to stop posting pictures. But the photography as well as the creations are amazing. Go see for yourself: HERE and HERE.

Wordshop Wednesday: Sprout Head!


For this fourth installment of Wordshop Wednesday, I would like to introduce you to the adorably crafty and poetic Sprout Head. Sprout Head sprouted into my life yesterday, via Poppy Talk‘s lovely introduction of highly purchasable holiday ornaments. I clicked on the link to Sprout Head’s Etsy shop, and…well, that’s pretty much where the obsession began. Check out the genre-bending (hehe, get it?) sprouts for yourself:


1. “We Carry Each Other”



2. “First Song”



3. “Genius Love”




















Apollinaire’s Calligrammes

The following biographical and literary information on Guillaume Apollinaire is extracted from the following website: An Introduction to Guillaume Apollinaire.

Guillaume Apollinaire (France, 1880-1918) was the author of a variety of different texts: prose fiction, drama, librettos etc., yet it could be argued that he published only two significant works during his lifetime: Alcools: Poèmes 1898-1913 (1913) and Calligrammes: Poèmes de la paix et de la guerre 1913- 1916 (1918).

As well as having a keen eye for the visual arts, the visual dimension of writing was extremely important to Apollinaire. Apollinaire took great care over the typographical layout of his work. Technical developments such as the phonograph, the telephone, radio and cinema had provided new ways of storing and diffusing language without recourse to the written word. For Apollinaire, writing no longer had the same role, its status had changed and Apollinaire was one of the first to interrogate this. I say `one of the first’, since the Symbolist poet Stéphane Mallarmé published his Un Coup de dès jamais n’abolira le hasard (1897) sixteen years before Alcools which included typography carefully orchestrated into a symbolic pattern with different sized words twisted into strange shapes performing a ballet-like movement within the monochrome limits of the printed page. For Apollinaire, as for Mallarmé before him, language was something to be experienced for its concrete and graphic shapes, for its potential to convey meanings in other ways. Apollinaire insists on the `materiality’ of language, that is to say, its existence as visual marks of white on black or as patterns of sound. Michel Butor claims that Apollinaire’s significance as a poet resides in:

“… la conscience aiguë qu’il a toujours gardée de la réalité physique du langage; on peut dire qu’il a fait retomber la poésie sur la terre dans son admirable incapacité d’oublier que les mots c’est d’abord quelque chose que l’on entend, et que l’on voit.”
M. Butor, Monument de rien pour Apollinaire

In his later collection of poems, Calligrammes, Apollinaire incorporated words, letters and phrases into complex visual collages. The black on white of the printed page became a new field of experimentation. He experimented with a poetry in which a simple reading along the familiar linear axes (left to right, top to bottom) was no longer possible. The page became a sort of canvas for experimentation with different spatial relationships and with the possibility of multiple readings along different axes.

Examples of some of Apollinaire’s most celebrated Calligrammes: