FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2004193348> ?p ?o ?g. }

• W2004193348 endingPage "18" @default.
• W2004193348 startingPage "18" @default.
• W2004193348 abstract "For Beggars and Kings Kyle Minor (bio) Overpass. Steve Davenport. Misty Publications. http://misty-publications.tumblr.com. 64pages; paper, $15.00. Overpass, the second full-length collection of poetry by Steve Davenport, follows Uncontainable Noise (2006), a volume that distinguished itself by combining a latter-day Beat whiskey- and-maximalism bent with a rigorous formalism that seemed to have as its aim the perversion and extension of the iambic line past its usual outer limit of pentameter, toward the rarely explored world of twelve fighting syllables. This time, the re-made form is the curtal sonnet, an early form of math rock invented by Gerard Manley Hopkins for no purpose such as Davenport intends. An opening section titles its poems after popular magazines such as Entertainment Weekly, Good Housekeeping, Rolling Stone, and Playboy, names which serve as starting places for Midwestern landscapes of no small wildness, beginning with the rocky bluff in which a “ghost horn comes wailing / onto the floodplain, steel-blue scissoring / of one note through Madison and St. Clair / counties, through factory cutbacks and closings, / refineries and strip clubs needing paint . . .” The poems rise in intensity until the curtal form can no longer contain their energy, so Davenport first multiplies the form, in “Field and Stream,” the first quadruple curtal I’ve ever read, and then declares intent to murder form itself in “The Sestina Has Been Shrinking,” which begins: “Sestina, tonight’s the night I push you off the overpass.” But—and this is a thing that can’t pass unremarked and cursed upon—the sestina’s six end words (overpass, sky, wagon, gun, ground, and blood) carry through all six full stanzas and into the final half-stanza as sestinas will. All that’s left to the poet save declaring defeat is a final return to the curtal sonnet, in “Real Adventure,” a poem that does double-duty in declaring simultaneously on a violent romantic relationship and the form itself (“curtailed, truncated, stopped, this body / of two bodies locked in a promise”), before giving the last word to the awful natural world that observes the doings of lovers and poets, as Chekhov famously did in his story “Gusev,” but in a manner rather rougher and more sharply to the point: “A bird,” the poet tells us, “shits on a car.” The second section of Overpass is a transitional section, beginning with the magazines and curtal sonnets, but quickly, perhaps at the instigation of the “Journal of Speculative Philosophy” (“A ride on great wings. A howto / for beggars and kings”) moving into a more expansive register reminiscent of the maximalist flights familiar to readers of Uncontainable Noise, in such tours-de-force as “Diminishing Innuendo of Hog Sonnet” (“Salty dog schlong skin flute / 30-gauge needle / Come-and-Go Joe / Remedy / Inject / Hog”), “The Sestina Has Been Drinking” (a makeup song from the formerly homicidal poet, to be sure, which ends “Sestina, O Sestina, this guy’s in love with you still”), and, especially “East St. Louis Ontological Toodle-oo, 1917,” a “call-and-response kwansaba after Eugene B. Redmond, Poet Laureate of East St. Louis,” which makes great use of an anaphoric “Is” which lead to “20 dead wagons burying local history” and “Josephine Baker’s French Medal of Resistance.” The third section begins with a cinquain which reveals the entire book to have been arranged in a mirrored structure, but before we get to the send-them-packing run of curtal magazine sonnets, the Sestina completes its triptych by considering the poets invitation to join the poet’s guns-and-whiskey debauchery parade, and it is in this poem that Davenport’s prodigious gift for sibilant indulgence is on gaudy display, “six and six and sex and sax” and “the six to sick, / bowl to ball, mind to mine, the shot to something you’d shoot / if the needle liked you. Thought tonight’s a repeating note / a stuttering hymn . . .” Overpass ends in gratitude in “Budget Travel,” which finds the poet wanting “a bottom song getting happy / in an open field down by the river,” and “a few covered dishes / out past the temples I’ve made of rusting / abandonments. My stupid Kumbaya.” He..." @default.
• W2004193348 created "2016-06-24" @default.
• W2004193348 creator A5069841809 @default.
• W2004193348 date "2014-01-01" @default.
• W2004193348 modified "2023-10-17" @default.
• W2004193348 title "For Beggars and Kings" @default.
• W2004193348 doi "https://doi.org/10.1353/abr.2014.0010" @default.
• W2004193348 hasPublicationYear "2014" @default.
• W2004193348 type Work @default.
• W2004193348 sameAs 2004193348 @default.
• W2004193348 citedByCount "0" @default.
• W2004193348 crossrefType "journal-article" @default.
• W2004193348 hasAuthorship W2004193348A5069841809 @default.
• W2004193348 hasConcept C10511252 @default.
• W2004193348 hasConcept C124952713 @default.
• W2004193348 hasConcept C142362112 @default.
• W2004193348 hasConcept C164913051 @default.
• W2004193348 hasConcept C52119013 @default.
• W2004193348 hasConcept C78320373 @default.
• W2004193348 hasConcept C95457728 @default.
• W2004193348 hasConceptScore W2004193348C10511252 @default.
• W2004193348 hasConceptScore W2004193348C124952713 @default.
• W2004193348 hasConceptScore W2004193348C142362112 @default.
• W2004193348 hasConceptScore W2004193348C164913051 @default.
• W2004193348 hasConceptScore W2004193348C52119013 @default.
• W2004193348 hasConceptScore W2004193348C78320373 @default.
• W2004193348 hasConceptScore W2004193348C95457728 @default.
• W2004193348 hasIssue "2" @default.
• W2004193348 hasLocation W20041933481 @default.
• W2004193348 hasOpenAccess W2004193348 @default.
• W2004193348 hasPrimaryLocation W20041933481 @default.
• W2004193348 hasRelatedWork W146256824 @default.
• W2004193348 hasRelatedWork W2323317573 @default.
• W2004193348 hasRelatedWork W2388922633 @default.
• W2004193348 hasRelatedWork W2500503494 @default.
• W2004193348 hasRelatedWork W2553750536 @default.
• W2004193348 hasRelatedWork W2748952813 @default.
• W2004193348 hasRelatedWork W4247311483 @default.
• W2004193348 hasRelatedWork W814456475 @default.
• W2004193348 hasRelatedWork W1644985275 @default.
• W2004193348 hasRelatedWork W2268167484 @default.
• W2004193348 hasVolume "35" @default.
• W2004193348 isParatext "false" @default.
• W2004193348 isRetracted "false" @default.
• W2004193348 magId "2004193348" @default.
• W2004193348 workType "article" @default.