By Kristin McGuiness
Fifty one dates. 50 weeks. That used to be the social test Kristen McGuiness—single, residing in los angeles, and coming into her thirties newly sober—embarked upon. McGuiness suggestion dealing with her fight with alcoholism may be the toughest half, with love coming simply afterwards. It didn’t. Rethinking her past courting process, she embarks at the final social test: fifty one dates over the process 50 weeks, and an opportunity to say the lifestyles she notion used to be alleged to be hers.
Dodging CHAs (Cheesy Hollywood Actors) and males with self-diagnosed RAD (Relationship nervousness Disorder), McGuiness is set to discover the "perfect guy" via being the "perfect girl." yet McGuiness, like several people, has her personal concerns to take care of: a eager for the inaccurate type of males, a penchant for swearing, and a tough courting together with her father in maximum-security legal. yet because the yr progresses, McGuiness starts off to increase a brand new desire for her future—the dates rework into truth-seeking missions, and aspect her towards a lifestyles with pleasing paintings, a supportive relatives and, with assistance from a neighborhood shaman, a comforting spirituality. informed with wry humor, pathos, and a fascinating loss of self-pity, 51/50 is a relocating experience.
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To my delight, she was inspired by them to make a new translation of Labé’s prose to be published in a volume with the poems. In her introduction, Baker discusses the few real liberties I took as creative choices. ” It was reassuring to feel that my leaps of faith had brought forward Labé’s meaning in a contemporary context. Baker’s response reafArmed my belief that the translator and the translated serve the same art, that poetry, ultimately, has really only one language. My experience translating Labé gave me several gifts, the most valuable being a deep sense of poetic kinship, of having shared my ear with another poet’s muse.
Originally published in the Yale Lit (summer 1978). 28 Walk with Me On Poetry and Music In the sense that I am one of those poets who whisper and mutter lines aloud to themselves as they work, I have always “performed” my poems. Even before I wrote them down, I was a child who loved to hypnotize herself by singing little songs over and over. I remember one day discovering that, if I whispered the word “iron” to myself enough times, it would sound very satisfyingly unfamiliar: “iron, iron, iron, iron, iron .
For her, as for most postmodern poets and critics, these three qualities are unavoidably intertwined; in fact, the Arst and third qualities—foregrounding language as an object and allowing the reader to become active—are usually assumed to depend utterly on the second, the subversion of grammatical and contextual rules. Is the subversion of syntax the only way to foreground and complicate poetic language? Recent language poetry (including work by Charles Bernstein) and post–language poetry (including work by Lee Ann Brown, Jennifer Moxley, K.