Michael Fried's The next bend in the road PDF

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I lived like that for decades, impregnable in the knowledge that my castle had no drawbridge. Then one day in a trance of inadvertence I sent my poems to an editor, who published them. Now the drawer is empty and the closet is sealed and I know that in the realm of spirit I am nothing. • 16 • The Chase In the Asian galleries of the Seattle Art Museum I discover a painting on silk and, almost, a prose poem. The painting, by Li Anzhong (active 1120–1160), is of a hawk chasing a pheasant. The almost-poem—the wall label—reads: “The desperate situation of the pheasant is emphasized by its gasping mouth, and the hawk’s determination is conveyed through its raised neck and tightly closed beak.

The mystery is how he himself survived, no, flourished there for decades—the life of every Mad Hatter’s tea party, of countless insipid High Table dinners—after having spent that one fierce, soul-transfixing night with Akhmatova, after having been submerged for fourteen hours in the Real as if in liquid fire. • 43 • W h e n Yo u E n t e r t h e R o o m When you enter the room there enter with you all the loves of your past, I mean your youth. They brush up against you importunately, or hover in the air like small thunderstorms, or dance attendance on each vivid gesture, as if waiting to light the cigarillos you no longer smoke.

You seem, and I guess truly are, indifferent to their existence, which makes them despond, not because their passion for you was eternal but because they were men and the picture of you losing yourself under them is forever fresh in their minds, as (they keep telling themselves) it must be in yours. • 44 • The Essence of Poetry “Understand, the essence of poetry is not in rhymes, nor in the verse. ” Sergey Esenin said this to Roman Jakobson in the Café Pittoresque in Moscow around 1918. The fiery arch-formalist remembered it all his life despite his evident bafflement—what did Esenin mean?

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