#amie syllabus

[the-music-keeper]

Okay. Objective #4 is done.

The research tasks are getting moved again, because this took all afternoon.

[wen-kexing-apologist]

Bengiyo's Queer Cinema Syllabus

For those of you who don’t know, I decided to run the gauntlet of @bengiyo’s queer cinema syllabus, which is comprised of 9 units. I have completed four of the units (here is my queer cinema syllabus round up post with all the films I’ve watched and written about so far). It is time for me to make my way through Unit 5- Lesbians, which includes the following films: The Incredibly True Adventure of Two Girls in Love (1995), Bound (1996), Water Lilies (2007) [Skipping for now until I can get access to it], Saving Face (2004), D.E.B.S. (2004), Set It Off (1996), The Handmaiden (2016), Carol (2015), Imagine Me and You (2005), Two of Us (2019), Rafiki (2018), and The Color Purple (1985).

Today I will be talking about

D.E.B.S. (2004) dir. Angela Robinson

[Run Time: 1:31, Language: English] [Content Warning: there is one use of the r word] Summary: Plaid-skirted schoolgirls are groomed by a secret government agency to become the newest members of the elite national-defense group, D.E.B.S.

Cast:  -Sara Foster as Amy -Jordana Brewster as Lucy Diamond -Devon Aoki as Dominique -Jill Ritche as Janet -Meagan Good as Max ___

This write up will not be very long because this movie is not working with substantial, in-depth, layered messaging. BUT HOLY SHIT IT WAS SO MUCH FUN. This is a shitty little cult classic that sees a paramilitary agent (who was recruited from some secret questions in the SATs) and a supervillain falling in love and running off into the sunset together. 

So, I’ve seen low budget films that have quite a lot to say and know it can be done, so I was curious about how in-depth this film might go into discussions of law enforcement, mostly because in the evil lair there is a sign that says The Only Good D.E.B. is a Dead D.E.B. But this is a light hearted comedy piece so though we do get Amy literally saying she’s a cop, there is not a whole lot of like anti-cop sentiment or anything in the film. 

The premise is a spy and a supervillian literally crash in to eachother, have some level of instant connection, the spy has her queer awakening and runs off with the supervillian, is rescued essentially mid coitus, and the supervillian is inspired to start returning all of the things she’d stolen over the years in an effort to get Amy to leave D.E.B.S. and just be in love with her. It’s riddled with hilarious sound effects, forcefields made of plaid, and a SECRET TUNNEL! 

What it does is show that the world’s most wanted supervillian is pretty chill, very gay, and has maybe been portrayed as more ruthless than she actually is (yes that is in fact Madam Super Villan dancing with her henchman in the gif above). What it does show is that little Miss Perfect Score on the secret spy test does not want to be a spy but felt obligated to do so because she was good at it. I did enjoy the repeated questioning of standardized testing, Lucy asking what the spy test tests for and Amy realizing that she doesn’t know and never bothered to ask yet that test was deciding her entire future. 

But again this was SO. MUCH. FUN. to watch and I would recommend it to many people even as just like a silly little wind down film if they were in need of a quick pick me up.

Also there was lots of gay kissing, which I feel is important to note. 

Favorite Moment

My favorite moment was Lucy breaking in to the D.E.B.S house to see Amy the first time. What an iconic piece of comedy: the plaid forcefield around the property that matches their school uniform, Lucy cutting a hole in the forcefield with what legitimately looks like a sonic screwdriver from Doctor Who, jumping over laser detectors on the grass that are also plaid, and climbing up the wall with those like hand-held suction cup things with the most hilarious and incredibly incorrect popping motion every time she sticks the suction cup to the wall. 

Favorite Quote 

“Yes, well, the poster child doesn’t know it yet but she’s into me.” 

I love when queer people recognize queer people, and appreciate that because Amy is young and was just getting out of a relationship with her boyfriend that she might not know her own sexuality yet or have a full understanding of what she is feeling. But Lucy Diamond is an established, adult, queer woman who definitely sees the way that Amy is acting around her and understands immediately what is happening. 

Score

10/10 

For this moment alone

THAT SAID. I do feel the need to justify this scoring. I tend to score things by what they put forth, so a show with campier premises and executions like this one would be scored almost exclusively by vibes. Things like The Miracle of Teddy Bear, for example, which takes itself incredibly seriously, has multiple layers of messaging, and incredibly realistic depictions of queerness, homophobia, and domestic violence is something I would score with a number of actual story telling factors in mind. 

This gets a 10 for vibes, I don’t think I had a single critical thought in the entire hour and a half watching it and I was having a fucking BLAST.

[todaysdocument]

The Supreme Court ruled that the Defense of Marriage Act was unconstitutional on June 26, 2013. 

In U.S. v Windsor, SCOTUS held that the federal government could not discriminate against same-sex couples. 

Record Group 267: Records of the Supreme Court of the United States Series: Appellate Jurisdiction Case Files

Transcription: 

[Stamped: " FILE COPY "]

(Bench Opinion)                 OCTOBER TERM, 2012            1  [Handwritten and circled " 1"  in upper right-hand corner]

Syllabus

NOTE: Where it is feasible, a syllabus (headnote) will be released, as is

being done in connection with this case, at the time the opinion is issued.

The syllabus constitutes no part of the opinion of the Court but has been

prepared by the Reporter of Decisions for the convenience of the reader.

See United States v. Detroit Timber & Lumber Co., 200 U.S. 321, 337.

SUPREME COURT OF THE UNITED STATES

Syllabus

UNITED STATES v. WINDSOR, EXECUTOR OF THE

ESTATE OF SPYER, ET AL.

CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR

THE SECOND CIRCUIT

No. 12-307.  Argued March 27, 2013---Decided June 26, 2013

The State of New York recognizes the marriage of New York residents

Edith Windsor and Thea Spyer, who wed in Ontario, Canada, in

2007. When Spyer died in 2009, she left her entire estate to Windsor.

Windsor sought to claim the federal estate tax exemption for surviv-

ing spouses, but was barred from doing so by §3 of the federal Defense

of Marriage Act (DOMA), which amended the Dictionary Act---a

law providing rules of construction for over 1,000 federal laws and

the whole realm of federal regulations-to define "marriage" and

"spouse" as excluding same-sex partners. Windsor paid $363,053 in

estate taxes and sought a refund, which the Internal Revenue Service

denied. Windsor brought this refund suit, contending that DOMA vi-

olates the principles of equal protection incorporated in the Fifth

Amendment. While the suit was pending, the Attorney General notified

the Speaker of the House of Representatives that the Department

of Justice would no longer defend §3's constitutionality. In re-

sponse, the Bipartisan Legal Advisory Group (BLAG) of the House of

Representatives voted to intervene in the litigation to defend §3's

constitutionality. The District Court permitted the intervention. On

the merits, the court ruled against the United States, finding §3 un-

constitutional and ordering the Treasury to refund Windsor's tax

with interest. The Second Circuit affirmed. The United States has

not complied with the judgment.

Held:

1. This Court has jurisdiction to consider the merits of the case.

This case clearly presented a concrete disagreement between oppos-

ing parties that was suitable for judicial resolution in the District

Court, but the Executive's decision not to defend §3's constitutionali-

[page 2]

2                  UNITED STATES v. WINDSOR

Syllabus

ty in court while continuing to deny refunds and assess deficiencies

introduces a complication. Given the Government's concession, ami-

cus contends, once the District Court ordered the refund, the case

should have ended and the appeal been dismissed. But this argu-

ment elides the distinction between Article Ill's jurisdictional re-

quirements and the prudential limits on its exercise, which are "es-

sentially matters of judicial self-governance." Warth v. Seldin, 422

U. S. 490, 500. Here, the United States retains a stake sufficient to

support Article III jurisdiction on appeal and in this Court. The re-

fund it was ordered to pay Windsor is "a real and immediate econom-

ic injury," Hein v. Freedom From Religion Foundation, Inc., 551 U. S.

587, 599, even if the Executive disagrees with §3 of DOMA. Wind-

sor's ongoing claim for funds that the United States refuses to pay

thus establishes a controversy sufficient for Article III jurisdiction.

Cf. INS v. Chadha, 462 U. S. 919.

Prudential considerations, however, demand that there be "con-

crete adverseness which sharpens the presentation of issues upon

which the court so largely depends for illumination of difficult consti-

tutional questions." Baker v. Carr, 369 U. S. 186, 204. Unlike Article

III requirements---which must be satisfied by the parties before judi-

cial consideration is appropriate---prudential factors that counsel

against hearing this case are subject to "countervailing considera-

tions [that] may outweigh the concerns underlying the usual reluc-

tance to exert judicial power." Warth, supra, at 500-501. One such

consideration is the extent to which adversarial presentation of the

issues is ensured by the participation of amici curiae prepared to de-

fend with vigor the legislative act's constitutionality. See Chadha,

supra, at 940. Here, BLAG's substantial adversarial argument for

§3's constitutionality satisfies prudential concerns that otherwise

might counsel against hearing an appeal from a decision with which

the principal parties agree. This conclusion does not mean that it is

appropriate for the Executive as a routine exercise to challenge stat-

utes in court instead of making the case to Congress for amendment

or repeal. But this case is not routine, and BLAG's capable defense

ensures that the prudential issues do not cloud the merits question,

which is of immediate importance to the Federal Government and to

hundreds of thousands of persons. Pp. 5-13.

2. DOMA is unconstitutional as a deprivation of the equal liberty of

persons that is protected by the Fifth Amendment. Pp. 13--26.

(a) By history and tradition the definition and regulation of mar-

riage has been treated as being within the authority and realm of the

separate States. Congress has enacted discrete statutes to regulate

the meaning of marriage in order to further federal policy, but

DOMA, with a directive applicable to over 1,000 federal statues and

[NEW PAGE]

Cite as: 570 U.S._ (2013)           3

Syllabus

the whole realm of federal regulations, has a far greater reach. Its

operation is also directed to a class of persons that the laws of New

York, and of 11 other States, have sought to protect. Assessing the

validity of that intervention requires discussing the historical and

traditional extent of state power and authority over marriage.

Subject to certain constitutional guarantees, see, e.g., Loving v.

Virginia, 388 U.S. 1, "regulation of domestic relations" is "an area

that has long been regarded as a virtually exclusive province of the

States," Sosna v. Iowa, 419 U. S. 393, 404. The significance of state

responsibilities for the definition and regulation of marriage dates to

the Nation's beginning; for "when the Constitution was adopted the

common understanding was that the domestic relations of husband

and wife and parent and child were matters reserved to the States,"

Ohio ex rel. Popovici v. Agler, 280 U. S. 379, 383-384. Marriage laws

may vary from State to State, but they are consistent within each

State.

DOMA rejects this long-established precept. The State's decision

to give this class of persons the right to marry conferred upon them a

dignity and status of immense import. But the Federal Government

uses the state-defined class for the opposite purpose---to impose re-

strictions and disabilities. The question is whether the resulting injury

and indignity is a deprivation of an essential part of the liberty

protected by the Fifth Amendment, since what New York treats as

alike the federal law deems unlike by a law designed to injure the

same class the State seeks to protect. New York's actions were a

proper exercise of its sovereign authority. They reflect both the

community's considered perspective on the historical roots of the in-

stitution of marriage and its evolving understanding of the meaning

of equality. Pp. 13--20.

(b) By seeking to injure the very class New York seeks to protect,

DOMA violates basic due process and equal protection principles ap-

plicable to the Federal Government. The Constitution's guarantee of

equality "must at the very least mean that a bare congressional de-

sire to harm a politically unpopular group cannot" justify disparate

treatment of that group. Department of Agriculture v. Moreno, 413

U. S. 528, 534-535. DOMA cannot survive under these principles.

Its unusual deviation from the tradition of recognizing and accepting

state definitions of marriage operates to deprive same-sex couples of

the benefits and responsibilities that come with federal recognition of

their marriages. This is strong evidence of a law having the purpose

and effect of disapproval of a class recognized and protected by state

law. DOMA's avowed purpose and practical effect are to impose a

disadvantage, a separate status, and so a stigma upon all who enter

into same-sex marriages made lawful by the unquestioned authority

[page 3]

4           UNITED STATES v. WINDSOR

Syllabus

of the States.

DOMA's history of enactment and its own text demonstrate that

interference with the equal dignity of same-sex marriages, conferred

by the States in the exercise of their sovereign power, was more than

an incidental effect of the federal statute. It was its essence. BLAG's

arguments are just as candid about the congressional purpose.

DOMA's operation in practice confirms this purpose. It frustrates

New York's objective of eliminating inequality by writing inequality

into the entire United States Code.

DOMA's principal effect is to identify and make unequal a subset of

state-sanctioned marriages. It contrives to deprive some couples

married under the laws of their State, but not others, of both rights

and responsibilities, creating two contradictory marriage regimes

within the same State. It also forces same-sex couples to live as mar-

ried for the purpose of state law but unmarried for the purpose of

federal law, thus diminishing the stability and predictability of basic

personal relations the State has found it proper to acknowledge and

protect. Pp. 20-26.

699 F. 3d 169, affirmed.

KENNEDY, J., delivered the opinion of the Court, in which GINSBURG,

BREYER, SOTOMAYOR, and KAGAN, JJ., joined. ROBERTS, C. J., filed a

dissenting opinion. SCALIA, J., filed a dissenting opinion, in which

THOMAS, J., joined, and in which ROBERTS, C. J., joined as to Part I.

ALITO, J., filed a dissenting opinion, in which THOMAS, J., joined as to

Parts II and III.

[NEW PAGE]

Cite as: 570 U. S. _ (2013)          1

Opinion of the Court

NOTICE: This opinion is subject to formal revision before publication in the

preliminary print of the United States Reports. Readers are requested to

notify the Reporter of Decisions, Supreme Court of the United States, Washington,

D. C. 20543, of any typographical or other formal errors, in order

that corrections may be made before the preliminary print goes to press.

SUPREME COURT OF THE UNITED STATES

No. 12-307

UNITED STATES, PETITIONER v. EDITH SCHLAIN

WINDSOR, IN HER CAPACITY AS EXECUTOR OF THE

ESTATE OF THEA CLARA SPYER, ET AL.

ON WRIT OF CERTIORARI TO THE UNITED STATES COURT OF

APPEALS FOR THE SECOND CIRCUIT

[June 26, 2013]

JUSTICE KENNEDY delivered the opinion of the Court.

Two women then resident in New York were married

in a lawful ceremony in Ontario, Canada, in 2007. Edith

Windsor and Thea Spyer returned to their home in New

York City. When Spyer died in 2009, she left her entire

estate to Windsor. Windsor sought to claim the estate tax

exemption for surviving spouses. She was barred from

doing so, however, by a federal law, the Defense of Mar-

riage Act, which excludes a same-sex partner from the

definition of "spouse" as that term is used in federal stat-

utes. Windsor paid the taxes but filed suit to challenge

the constitutionality of this provision. The United States

District Court and the Court of Appeals ruled that this

portion of the statute is unconstitutional and ordered the

United States to pay Windsor a refund. This Court granted

certiorari and now affirms the judgment in Windsor's

favor.

I

In 1996, as some States were beginning to consider the

concept of same-sex marriage, see, e.g., Baehr v. Lewin, 74

[studyaxis]

⌞🖳 Days of Productivity : Summer 2024, Log 55 of 100⌝ date: 10-July-2024 [Week 11] ♬♪ Back to Black • Amy Winehouse

🗒 today's progress: ✔ 90mins of Engg. Math; ✔ 60mins of DBMS; 🕰 today's study focus time: 02hr 48min 34s

↪ for tomorrow: 90mins of Engg. Math and Discrete Mathematics; 90mins of General Aptitude; Computer Organization flashcards and revision; Study 5 algorithms; ↪ for long term: aim for at least 8 focus hours; start on GATE practice questions; focus on finishing the syllabus;

[odettecarotte]

Louise Glück, NYT

Louise Glück, photo by Charles S. Hertz

b. 1943

The Nobel-winning poet was pitiless to herself, yet fiercely generous toward her students.

By Amy X. Wang The New York Times

She stood barely five feet tall — slight, unassuming, you had to stoop low to kiss her cheek — but whenever Louise Glück stepped into a classroom, she shot a current through it. Students stiffened their spines, though what they feared was not wrath but her searing rigor: Even in her late 70s, after she won the Pulitzer and the National Humanities Medal and the Nobel, she always spoke to young writers with complete seriousness, as if they were her equals. “My first poem, she ripped apart,” says Sun Paik, who took Glück’s poetry class as a Stanford undergraduate. “She’s the first person whom I ever received such a brutal critique from.” Mark Doty, a National Book Award-winning poet who studied under Glück in the 1970s at Goddard College, felt that she “represented total authenticity and complete honesty.” This, he recalls, “pretty much scared me half to death.”

Spare, merciless, laser-precise: Glück’s signature style as a writer. It was there from an early age. Born in 1943 to a New York family of tactile pragmatists (her father helped invent the X-Acto knife), Glück, a preternaturally self-competitive child, was constantly trying to whittle away at her own perceived shortcomings. When she was a teenager, she developed anorexia — that pulverizing, paradoxical battle with both helplessness and self-control — and dropped to 75 pounds at 16. The disorder prevented her from completing a college degree. Many of the poems Glück wrote in her early 20s flog her own obsessions with, and failures in, control and exactitude. Her narrators are habitués of a kind of limitless wanting; her language, a study in ruthless austerity. (A piano-wire-taut line tucked in her 1968 debut, “Firstborn”: “Today my meatman turns his trained knife/On veal, your favorite. I pay with my life.”) In her late 20s, Glück grew frustrated with writing and was prepared to renounce it entirely.

So she took, in 1971, a teaching job at Goddard College. To her astonishment, being a teacher unwrapped the world — it bloomed anew with possibility. “The minute I started teaching — the minute I had obligations in the world — I started to write again,” Glück would confess in a 2014 interview. Working with young minds quickly became a sort of nourishment. “She was profoundly interested in people,” says Anita Sokolsky, a friend and colleague from Williams College, where Glück began teaching in 1984. “She had a vivid and unstinting interest in others’ lives that teaching helped focus for her. Teaching was very generative to her writing, but it was also a kind of counter to the intensity and isolation of her writing.”

Glück’s own poems became funnier and more colloquial, marrying the control she earlier perfected with a new, unexpected levity (in her 1996 poem “Parable of the Hostages”: “What if war/is just a male version of dressing up”), and it is her later books, like the lauded “The Wild Iris” from 1992, that made her a landmark literary figure. Teaching also coaxed out a new facet in Glück herself: that of a devoutly unselfish mentor, a tutor of unbridled kindness.

A less fastidious writer and thinker may have made their teaching duties rote — proffering uniformly encouraging feedback or reheating a syllabus year after year. Glück, though, threw herself into guiding pupils with the same care and intimacy she gave to her own verses. “There was just this voraciousness, this generosity,” says Sally Ball, who met Glück while studying with her at Williams and remained close with her for the three decades until her death. “Every time I moved, she put me in touch with people in that new place. She enjoyed bringing people to know each other and sharing the things she loved.” And as a teacher, Ball says, “Louise was really clear that you have to make yourself change. You can’t just keep doing the same things over and over again.” In that spirit of boundless self-advancement, Glück also taught herself to love cooking and eating. She once hand-annotated a Marcella Hazan recipe and mailed it to Ball, with sprawling commentary on how best to prepare rosemary. “She’s very beautiful and elegant, right,” Ball says, but “we’d go to Chez Panisse and sit down and she eats with gusto. It’s messy, she’s mopping her hands around on the plate.”

Paik recalls spending hours each week decoding Glück’s dense, cursive comments on her work. “I was 19 or 20,” she says, “writing these scrappy, honestly pretty bad poems, and to have them be received with such care and detail — it pushed me to become a better writer because it set a standard of respect.”

“She was 78, and whenever she talked about poetry, it felt like the first time she’d encountered poetry,” says Shangyang Fang, who met Glück when he was at Stanford on a writing fellowship. Glück offered to edit his first poetry collection, and the pair became close friends. “She would talk about a single word in my poem for 10 minutes with me,” Fang says. Evenings would go late. They cooked for each other sometimes, spending hours talking vegetables and spices, poetry and idle gossip. “By the end, I couldn’t thank her enough, and she said: ‘Stop thanking me! I am a predator, feeding on your brain!’”

[kitchen-light]

I think to me, it's an obligation of education. And I think it begins with kind of refusing to see reading as equating to celebration. And this is where I think a lot of my students, I found particularly young people, I tried to, you know, kind of revise this impulse to cancel authors, right? And I think, or take them off the syllabus. And I think, you know, if we take Whitman off the syllabus, we don't get to investigate. We don't get to investigate what's contemporaneous to Whitman, what he succeeded in, in innovating the the line. And thereby, we deny ourselves that education. We also can't see where he went wrong in his, you know, racism, his beliefs of Western expansionism, you know, and also the great trauma that he experienced as a queer person and how some of this, you know, self-rising barred, this sage was kind of like a persona in an ego mask, right?

Ocean Vuong, from Novel Dialogue Podcast: 5.1 We Have This-ness, Y’all! Ocean Vuong and Amy E. Elkins, published April 6, 2023

[yessadirichards]

What to stream this week: 'Young Sheldon,' Amy Schumer, 'Oppenheimer' and lots and lots of JLo

Christopher Nolan's “Oppenheimer” arriving on Peacock and a documentary and album from Jennifer Lopez are some of the new television, movies, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: “Young Sheldon” returning for its seventh and final season, Dr. Henry Louis Gates Jr. exploring the power of gospel in a two-part PBS documentary and Ubisoft’s Skull and Bones pirate-themed video game.

— If you were holding out for “Oppenheimer” on streaming, now’s your chance to catch up before the Oscars (March 10), where it’s up for 13 awards including best picture, best director for Christopher Nolan and best actor for Cillian Murphy. The film arrives on Peacock on Friday, Feb. 16. Nolan and Emma Thomas, his producer and wife, are passionate advocates of the big screen experience, but they also know that most people will watch their films in the home — sometimes even as their first time. It’s how both discovered some of their favorites as well, they’ve said. In an interview with The Associated Press, Thomas added, “The nice thing about Chris’ films is because they are so very rich and reward multiple viewings, I think that they’re perfectly pitched for home viewings.”

— Jennifer Lopez has a new movie coming to Prime Video on Feb. 16. She co-wrote “This is Me…Now: A Love Story,” a movie musical about finding love which she called “the most personal thing I’ve ever done.” It is a star-studded endeavor, with appearances from her husband, Ben Affleck, Keke Palmer, Sofia Vergara, Post Malone and more, and ties in with her first studio album in a decade (see below). Also coming to Prime Video is Emma Seligman’s “gay high school fight club” comedy “Bottoms,” starring Rachel Sennott and Ayo Edebiri as a few misfits who start a fight club to flirt with the hot cheerleaders (Kaia Gerber and Havana Rose Liu). In his review, AP Film Writer Jake Coyle wrote that, “The rites and rituals of the raunchy high-school comedy can be as prescribed as a class syllabus. But what makes Emma Seligman’s “Bottoms” such an anarchic thrill is how much it couldn’t care less.”

— And finally, Taika Waititi’s “Next Goal Wins” arrives on Hulu on Thursday. It’s based on the real story of the American Samoa men’s soccer team quest to qualify for the FIFA World Cup after an historic loss (31-nill) against Australia. Michael Fassbender plays the coach who tries to help. In his AP review, Mark Kennedy wrote that “’Next Goal Wins’ is most winning in the way it handles the team’s star player, Jaiyah Saelua, who became the first nonbinary player to compete in a men’s FIFA qualifier. Played with real tenderness and joy by nonbinary actor Kaimana, the way the team and coach relate to Saelua is genuine and touching."

— AP Film Writer Lindsey Bahr

— Get ready for a second dose of J.Lo. On Friday, Feb. 16, she drops the Amazon original film “This is Me… Now: A Love Story” (see above) as well as her “This Is Me… Now” album. The 13-track set’s song titles include “To Be Yours,” “Mad in Love,” “Greatest Love Story Never Told” and “Dear Ben Pt. II,” a seeming sequel to a track on her 2002 album “This Is Me … Then.” The video for one new pop single, “Can’t Get Enough,” has as much JLo strutting as all of Paris Fashion Week. Lopez’s last album, “A.K.A.,” came out in 2014 and reached No. 8 on the Billboard 200.

— Blackberry Smoke — a Georgia-based band that has been together for 24 years and seven studio albums — makes a strong return with “Be Right Here,” blending blues, Southern rock and Americana. The album contains the arena country “Hammer and the Nail,” the rocking “Little Bit Crazy” and the driving, bluesy “Dig a Hole.” The band goes more acoustic with the wistful “Azalea,” about a loved one making a wrong decision, with the lyrics “Coming back don’t mean you're leaving here was wrong/Sorry ain’t the same as moving on.”

— AP Entertainment Writer Mark Kennedy

— In a new docuseries for PBS, Dr. Henry Louis Gates Jr. examines how sermon and song have long been a source of strength and wisdom in America, particularly among Black Americans. “Gospel,” a four-part series told over two nights has interviews with Dionne Warwick, U.S. Senator Raphael Warnock and more. “Gospel” airs Monday Tuesday on PBS.

— Ben Mendelsohn and Juliette Binoche play Christian Dior and Coco Chanel in a new historical drama “The New Look” for Apple TV+. The 10-episode series is set against the backdrop of Paris reemerging from Nazi occupation in WWII. Dior’s designs helped to lift an oppressed France and its culture with a stylish, modern glow up. As Dior rose to prominence, a rivalry developed between other established designers, including Chanel. “The New Look” also stars Maisie Williams, John Malkovich, Emily Mortimer and Glenn Close. The first three episodes of “The New Look” drop Wednesday on the streamer.

— Before Sheldon Cooper met Leonard, Penny or Amy he was a child prodigy growing up in east Texas. Iain Armitage plays the coming-of-age version of the character in the CBS comedy “Young Sheldon.” Emmy winner Jim Parsons who played Sheldon on “Big Bang” for 12 seasons, narrates. “Young Sheldon” returns for its seventh and final season on Thursday.

— Amy Schumer’s Hulu dramedy “Life & Beth” charmed viewers when it debuted in 2022 and the series returns for a second season on Friday, Feb. 16. Schumer writes, directs and stars as Beth opposite Michael Cera, who plays John, a farmer. The two fell in love in season one despite their differences and personal baggage. Now, the couple is planning to marry. Schumer has said the story is semi-autobiographical, inspired by her real-life marriage to chef Chris Fischer. All 10 episodes of season two will be available on the premiere date.

— Alicia Rancilio

— Batten down the hatches: Ubisoft’s Skull and Bones is finally ready to launch after more than a decade of development and delays. You are the captain of a pirate vessel in the Indian Ocean in the 18th century. You have a decent ship to start with, but if you want to make it really deadly you need to start collecting booty. That means pillaging merchant ships, battling rival scalawags, dodging the authorities and even surviving the occasional sea monster on your way to becoming the Pirate Kingpin. You can team up with friends or fight against them in epic naval warfare — something Ubisoft has shown a flair for in some of its Assassin’s Creed games. Set sail Friday, Feb. 16, on PlayStation 5, Xbox X/S or PC.

— Focus Entertainment’s Banishers: Ghosts of New Eden travels to the New World in the 17th century. The protagonists are a couple of paranormal investigators, Red and Antea, who are trying to clear the tormented wraiths out of a haunted settlement. They can help the lost souls ascend or banish them to eternal misery, and those choices have consequences down the line. It all gets more complicated when Antea gets killed — but fortunately she can use her supernatural powers to help Red finish the job. Banishers comes from the French studio Don’t Nod, best known for story-heavy cult favorites like Vampyr and Life Is Strange. You can take possession Tuesday on PlayStation 5, Xbox X/S or PC.

— Lou Kesten

[iasaim]

Corridors

When Amy turned the corner, she knew exactly where she was. Headed toward the Performing Arts Center on the third floor. Directly below her was the History Department and below that was the Computer Science wing. It was unusually large for a community college, and the particular building she was in sprawled out over nearly a third of the campus. Even still, there were only so many hallways to travel down before you hit a dead-end or came full circle back to where you’d started. She was searching for the office of the modern dance instructor to get the syllabus for the class she’d just enrolled in.  This was after dropping out of an economics course, much to the dismay of her parents. The place where the office was supposed to be located wound up being a lounge area with a few chairs, a small circular table, and a pair of vending machines. She doubled back, or at least thought that she had, but the corridors didn’t look like the ones she’d come from. The walls had all been white, but now contained different colors for each hall, shifting from red, to blue, to green, to yellow. Patterns on the carpeting had changed as well, from a series of beige geometric shapes in various configurations set against a gray background, to jumbles of unrecognizable forms that skewed off at odd angles. Looking at them made Amy disoriented and dizzy and she had to force herself to keep from glancing down. More colors filled her vision as she desperately searched for something familiar.  Walls of pink, orange, and teal transitioned into nauseating hues that summoned unbidden images of bile, vomit, pus, and the mottled purple bruising of a cadaver Amy had seen on a true crime television show. She turned another corner and the corridor ahead was solid black from top to bottom. It was like staring into the interior of a black hole. A realm where all traces of illumination beyond its borders had been obliterated. Amy turned to head back the way she’d came, but there was now nothing behind her except a blank wall. The only place to go was forward through that obsidian void. Marching into the darkened maw of a terrible creature that was patiently waiting to swallow her whole.

[ayearwithoutwater]

Twenty.

This past June, Nymphia Wind—winner of the most recent season of MTV’s RuPaul’s Drag Race—was interviewed by Joel Kim Booster for Gay Times. In their conversation, they discuss the trappings of being celebrities of Asian descent in the West, such as dating while Asian. Nymphia is succinct in her summation of the accompanying discourse: “Being Asian, you have to realize that you are…a type.”

It’s for similar reasons why I’ve come to disdain the “Gaysian” label. A portmanteau of “gay” and “Asian,” it’s a term I know to be broadly applied to any and all non-heterosexual people of (East) Asian descent. I don’t accept the necessity of the label, but I do begrudgingly accept that the label may be applied to me by people who know me only by my phenotype. However, let it be known: I may be gay, I may be Asian, but I am not a “Gaysian.” I am not a type.

This is manifested partly due to a disdain for "rice queens," as Nymphia and Joel call them. It is true that there is a subset of men who are not of Asian descent themselves but exclusively seek out Asian partners, and I've more or less spent the entirety of my dating career avoiding them. Being fetishized makes me uncomfortable.

I’ve often wondered whether this hyper-awareness is a problem of my own creation. In college, under the umbrella topics of scientific racism and capitalism, I sought to mold my undergraduate thesis as a rumination on the limitations imposed by such systems upon individual agency. I devised and read my own syllabus, seeking to put my assertions into conversation with Amy Tan, Franz Kafka, and Edward Said. Throughout this process, I ran into one singular idea, expressed by innumerable luminaries, over and over again: otherness. To be othered is to be ostracized; to be othered is to be misunderstood.

I understand why these classifications exist. I can even find use for social stratification, to convey information about groups of people strung together by even the flimsiest of commonalities, hopefully for a noble purpose. Nonetheless, when it comes to dating in particular, I resent being defined by my identity. I want to be wanted for who I am, not what I am. I know that this is a common complaint shared by many, and not just by those who look like me. It's not a novel concept.

Somewhat ironically, I realized that I was doing it too. When I tried using Hinge and other apps of the sort, I thought it would make dating easier if I gravitated primarily towards the men of my demographic. I assumed that our similar backgrounds would make for fertile common ground, shared experiences from which we might have drawn corresponding conclusions that would be precursory to having real chemistry between us. Although I didn't entirely write off going on dates with non-Asian men, the ones I did end up dating longer term were (not so) coincidentally of Asian descent: Malay Singaporean, Filipino American, Korean American, etc. None of them were rice queens and, for the most part, it sort of worked. I felt understood at a baseline level, and any real problems that did appear throughout those relationships came as a result of deeper-rooted issues.

I did wonder whether I precluded non-Asian partners out of fear that they would fetishize me just because they did not share my cultural background, but I did go on dates with them, too—I was willing to be an equal opportunist when it came to finding a partner. I thought that I needed to come to terms with the very real possibility that the love of my life may not be of Asian descent. Statistically speaking, it’s not an implausible outcome. I’m a resident of New York, a city not infamous for its lack of racial diversity, and it would be unrealistic to assume that I would never in my life date someone outside of my own demographic checkbox…unless I were actively preempting that possibility. So, I did it. I met some nice people, too, but those didn't work out either.

Somewhere along the way, when I interrogated my motives to determine the genesis of my fear of being misunderstood, I pinpointed an argument I’d had with Jun, my third boyfriend, during which he’d derided me for being “too Asian." In the three years that I gave him, he thought that I didn't show him enough affection, like a stereotypical Asian partner. Himself being of mixed White and Asian heritage, Jun was, in comparison, the “better” Asian, the enlightened one who gave away love for free because he supposedly wasn’t held back by the same assumptions that stunted me. 

In contrast, Henry, my fourth boyfriend and the man that succeeded Jun, never had that complaint. Although I was born in North America and Henry was born in Asia, we at least had in common the ways in which we were affectionate. We never overly gushed about each other, but we never felt the need to do so because it was a truth universally comprehended. Like Jun, Henry was also of mixed White and Asian heritage, but I thought he understood me better than Jun ever did, and I accredited that to him being more “Asian” by virtue of having spent most of his life on that side of the world, amongst the people there. I thought I related to him more because I’d spent half of my upbringing there, too.

In the aftermath of my breakup with Henry, I realized that I mainly searched for Asian partners because I wanted to avoid the same dust-ups that I’d had with Jun. I wanted the same easygoing partnership that I thought I’d had with Henry because it had felt more natural to me in comparison. I realized that I, like so many others, had allowed the trauma of my (very ugly) breakups seep into my subsequent relationships; I had felt that those relationships ended because I was misunderstood, because the men didn’t know me for who I truly am. Yet, while I attempted to circumvent being defined by my identity, being wanted because I was a type, I projected an assumption onto these other men: that they could not know me because they were not like me. But, in truth, my relationship with Henry had ended because I thought that he too echoed the stereotype of Asian men being unable, or unwilling, to express their emotional self. Disagreements with him often came about because I begged us to communicate better. Perhaps I was simply too American.

There's no happy ending here. Maybe I was too preoccupied with identity; love is as fickle as it is elusive, and all the more so when it is subject to all sorts of qualifiers. Thus, when my year without water came to a close, I found myself in a roundabout way starting back at square one: at a gay club watching Nymphia Wind perform, and catching a glimpse of Henry amongst the crowd of gay Asian men. If he saw me, I never knew—I pretended not to see him.

[argroupofedu5]

Best Medical Universities: The Premier Choice for MBBS in Kyrgyzstan

MBBS in Kyrgyzstan: An Diagram

Seeking an MBBS (Bachelor of Medicine, Bachelor of Surgery) in Kyrgyzstan has ended up an progressively well known choice for universal students, particularly from nations like India, Pakistan, and Nepal. The combination of reasonable tuition expenses, high-quality education, and the chance to encounter a different culture makes Kyrgyzstan an alluring goal for medical aspirants.

Why Study MBBS in Kyrgyzstan?

Affordable Education:

One of the essential reasons students elect Kyrgyzstan is the cost-effective nature of medical education. Compared to nations just like the United States, the United Kingdom, or indeed India, the tuition fees in Kyrgyzstan are altogether lower. This makes it accessible for students from middle-class foundations who might discover it challenging to bear education in more expensive countries.

Quality of Education:

Medical universities in Kyrgyzstan offer a tall standard of education. Many of these universities are recognized by worldwide medical bodies such as the World Health Organization (WHO) and are listed within the World Directory of Medical Schools. The curriculum is planned to be comprehensive and up-to-date with current medical practices.

English-Medium Instruction:

For worldwide students, language can be a boundary. In any case, many medical universities in Kyrgyzstan offer courses in English, making it easier for students from non-Russian speaking nations to take after the syllabus without the added pressure of learning a new language.

Streamlined Admission Process:

The admission process for MBBS in Kyrgyzstan is generally clear. Not at all like a few nations where entrance exams are obligatory, numerous Kyrgyz universities offer admission based on the student's tall school execution, particularly in subjects like Science, Chemistry, and Physics.

Assorted Social Encounter:

Considering Kyrgyzstan gives an opportunity to encounter a modern culture and way of life. The nation is known for its picturesque magnificence, wealthy history, and affable individuals. This worldwide presentation can be improving for understudies, both actually and professionally.

MBBS Expenses in Kyrgyzstan

The fetch of studying MBBS in Kyrgyzstan shifts depending on the college. However, on average, the tuition expenses run between USD 3,000 to USD 5,000 per year. Once you add living costs, the entire yearly toll can come to roughly USD 5,000 to USD 7,000. This is generally reasonable compared to the cost of medical education in Western nations.

Best Medical Colleges in Kyrgyzstan

A few medical colleges in Kyrgyzstan are eminent for their instructive measures and offices. Here are a few of the leading:

Kyrgyz State Medical Academy (KSMA):

KSMA is one of the most seasoned and most prestigious medical universities in Kyrgyzstan. Established in 1939, it is known for its amazing staff, modern infrastructure, and comprehensive curriculum. KSMA is recognized by WHO and the Medical Council of India (MCI).

Osh State University (OSU):

Osh State University is another popular choice among worldwide students. The Workforce of Medicine at OSU offers a strong MBBS program with English as the medium of instruction. The college is additionally recognized by universal medical bodies and provides a multicultural environment for students.

Jalal-Abad State University (JASU):

Jalal-Abad State University offers a well-structured MBBS program. The university emphasises viable preparing and clinical exposure, which are crucial for medical students. JASU is additionally known for its affordable educational cost fees.

International School of Medicine (ISM):

ISM is part of the International University of Kyrgyzstan and offers medical programs specifically planned for universal students. The school has modern offices and an updated curriculum that meets worldwide standards.

Asian Medical Institute (AMI):

AMI may be a generally newer institution but has rapidly gained popularity due to its quality education and affordable fees. The institute offers an MBBS program in English and has a different student body from various nations.

Medical Colleges in Kyrgyzstan for Indian Students

Indian students frame a critical extent of the international understudy community in Kyrgyzstan. The components that pull in Indian students incorporate the reasonable expenses, the acknowledgment of degrees by the MCI, and the accessibility of Indian nourishment and social communities.

Popular Colleges Among Indian Students:

Kyrgyz State Medical Academy (KSMA)

Osh State University (OSU)

Jalal-Abad State University (JASU)

Worldwide School of Medication (ISM)

Asian Medical Organized (AMI)

MBBS Admission in Kyrgyzstan

Qualification Criteria:

To apply for an MBBS program in Kyrgyzstan, students typically need to fulfill the following criteria:

Educational Qualifications: Completion of higher secondary education (10+2) with a minimum of 50% marks in Physics, Chemistry, and Science.

Age: The student must be at least 17 years ancient by the 31st of December of the admission year.

NEET Capability: Indian understudies must qualify for the National Qualification cum Entrance Test (NEET).

Affirmation Handle:

Application Shape: Fill out the application frame available on the university's site or through authorised educational consultants.

Archive Accommodation: Submit the specified archives, including scholastic transcripts, visa copies, NEET scorecard (for Indian students), and other relevant certificates.

Admission Letter: Upon successful evaluation of the application, the college will issue an admission letter.

Visa Process: Apply for a student visa at the closest Kyrgyzstan embassy or office. The confirmation letter, passport, and other required reports must be submitted for visa processing.

Travel Arrangements: Once the visa is granted, make travel arrangements to Kyrgyzstan. Guarantee to educate the university about your entry details.

Documents Required:

Visa (valid for at least 18 months)

10th and 12th-grade mark sheets and certificates

Birth certificate

Passport-sized photos

NEET scorecard

Admission letter from the university

Medical certificate (HIV test and COVID-19 test results)

Valid student visa

Conclusion

MBBS in Kyrgyzstan offers an amazing opportunity for students seeking quality medical education at an affordable cost. The country's medical universities are well-equipped, recognized globally, and offer programs in English, making it a reasonable choice for worldwide students. With simplified admission procedures and the chance to experience an unused culture, MBBS in Kyrgyzstan stands out as a promising destination for medical aspirants.

As the request for medical experts proceeds to develop around the world, getting an MBBS degree from Kyrgyzstan can clear the way for a fruitful career in pharmaceuticals. Whether it's the reasonable expenses, the quality of instruction, or the multicultural involvement, Kyrgyzstan has much to offer to yearning restorative understudies from around the globe.

[kiki-de-la-petite-flaque]

Louise

Glück

b. 1943

The Nobel-winning poet was pitiless to herself, yet fiercely generous toward her students.

By Amy X. Wang The New York Times

She stood barely five feet tall — slight, unassuming, you had to stoop low to kiss her cheek — but whenever Louise Glück stepped into a classroom, she shot a current through it. Students stiffened their spines, though what they feared was not wrath but her searing rigor: Even in her late 70s, after she won the Pulitzer and the National Humanities Medal and the Nobel, she always spoke to young writers with complete seriousness, as if they were her equals. “My first poem, she ripped apart,” says Sun Paik, who took Glück’s poetry class as a Stanford undergraduate. “She’s the first person whom I ever received such a brutal critique from.” Mark Doty, a National Book Award-winning poet who studied under Glück in the 1970s at Goddard College, felt that she “represented total authenticity and complete honesty.” This, he recalls, “pretty much scared me half to death.”

Spare, merciless, laser-precise: Glück’s signature style as a writer. It was there from an early age. Born in 1943 to a New York family of tactile pragmatists (her father helped invent the X-Acto knife), Glück, a preternaturally self-competitive child, was constantly trying to whittle away at her own perceived shortcomings. When she was a teenager, she developed anorexia — that pulverizing, paradoxical battle with both helplessness and self-control — and dropped to 75 pounds at 16. The disorder prevented her from completing a college degree. Many of the poems Glück wrote in her early 20s flog her own obsessions with, and failures in, control and exactitude. Her narrators are habitués of a kind of limitless wanting; her language, a study in ruthless austerity. (A piano-wire-taut line tucked in her 1968 debut, “Firstborn”: “Today my meatman turns his trained knife/On veal, your favorite. I pay with my life.”) In her late 20s, Glück grew frustrated with writing and was prepared to renounce it entirely.

So she took, in 1971, a teaching job at Goddard College. To her astonishment, being a teacher unwrapped the world — it bloomed anew with possibility. “The minute I started teaching — the minute I had obligations in the world — I started to write again,” Glück would confess in a 2014 interview. Working with young minds quickly became a sort of nourishment. “She was profoundly interested in people,” says Anita Sokolsky, a friend and colleague from Williams College, where Glück began teaching in 1984. “She had a vivid and unstinting interest in others’ lives that teaching helped focus for her. Teaching was very generative to her writing, but it was also a kind of counter to the intensity and isolation of her writing.”

Glück’s own poems became funnier and more colloquial, marrying the control she earlier perfected with a new, unexpected levity (in her 1996 poem “Parable of the Hostages”: “What if war/is just a male version of dressing up”), and it is her later books, like the lauded “The Wild Iris” from 1992, that made her a landmark literary figure. Teaching also coaxed out a new facet in Glück herself: that of a devoutly unselfish mentor, a tutor of unbridled kindness.

A less fastidious writer and thinker may have made their teaching duties rote — proffering uniformly encouraging feedback or reheating a syllabus year after year. Glück, though, threw herself into guiding pupils with the same care and intimacy she gave to her own verses. “There was just this voraciousness, this generosity,” says Sally Ball, who met Glück while studying with her at Williams and remained close with her for the three decades until her death. “Every time I moved, she put me in touch with people in that new place. She enjoyed bringing people to know each other and sharing the things she loved.” And as a teacher, Ball says, “Louise was really clear that you have to make yourself change. You can’t just keep doing the same things over and over again.” In that spirit of boundless self-advancement, Glück also taught herself to love cooking and eating. She once hand-annotated a Marcella Hazan recipe and mailed it to Ball, with sprawling commentary on how best to prepare rosemary. “She’s very beautiful and elegant, right,” Ball says, but “we’d go to Chez Panisse and sit down and she eats with gusto. It’s messy, she’s mopping her hands around on the plate.”

Paik recalls spending hours each week decoding Glück’s dense, cursive comments on her work. “I was 19 or 20,” she says, “writing these scrappy, honestly pretty bad poems, and to have them be received with such care and detail — it pushed me to become a better writer because it set a standard of respect.”

“She was 78, and whenever she talked about poetry, it felt like the first time she’d encountered poetry,” says Shangyang Fang, who met Glück when he was at Stanford on a writing fellowship. Glück offered to edit his first poetry collection, and the pair became close friends. “She would talk about a single word in my poem for 10 minutes with me,” Fang says. Evenings would go late. They cooked for each other sometimes, spending hours talking vegetables and spices, poetry and idle gossip. “By the end, I couldn’t thank her enough, and she said: ‘Stop thanking me! I am a predator, feeding on your brain!’”

Photograph by Charles S. Hertz

[kitchen-light]

And that takes a lot of time and rigorous discussion. And it can't happen if we just, you know, remove ourselves from the conversation. That might feel powerful at first as an act. I won't have so and so on my syllabus. But in the long run, we really just surrendered our agency and given the field back to the more dominant discourses.

Ocean Vuong, from Novel Dialogue Podcast: 5.1 We Have This-ness, Y’all! Ocean Vuong and Amy E. Elkins, published April 6, 2023

[modulationinstitute1]

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[aaknopf]

In Nothing Stays Put: The Life and Poetry of Amy Clampitt, Willard Spiegelman explores the highly unconventional path and mindset of this Iowa-born, late-blooming talent, who lived for much of her adult life in a small studio apartment in the Village and, after years of failing as a novelist, published her first collection, The Kingfisher, when she was sixty-two years old. She became an instant star in the field of American poetry; she died only eleven years later, leaving us with five beautiful books. A poet of long sentences and ornate, flowing music, Clampitt did not confide her secrets directly in her verse; the biography provides a kind of subterranean poetic map of her life. Of this energetic presence, a woman who wore vintage hats and scarves with flair, Spiegelman observes, “Amy knew how to live ‘poor,’ but she also knew, perhaps as compensation, how to write ‘rich.’” In the passage below, the poet immerses herself in studying Greek.    

. . .

As Clampitt was assembling what would become The Kingfisher, she did something she had long promised herself she would do. It was, in part, a much-delayed homage to her father, the Grinnell Classics major who had first taught her the Greek alphabet. Having studied Greek literature in translation, in school and college, and having finally visited Greece in 1965, she enrolled in Ancient Greek language classes. As early as 1954 she had written about wanting to read Sophocles in a bilingual edition, making use of a newly purchased secondhand Greek dictionary. A decade later, on board ship en route to Greece, she took daily half-hour classes to learn basic conversational phrases. Her intellectual curiosity was, as usual, excited by anything having to do with language, whether native or foreign, contemporary or dead.     She got up the courage—as she had four years earlier when she enrolled in Daniel Gabriel’s workshop—to sign on for a weekly class in Attic Greek at The New School in the fall of 1981. She was sixty-one. She took her inspiration from the journalist I. F. Stone, who started his Greek studies at seventy-one in order to learn about Athenian democracy from Thucydides, in the original language. Her classmates ranged from curious young people to a retired physician who read with a magnifying glass. It was the kind of variegated community that had always appealed to Amy, this time in a classroom rather than in a bus or at a protest meeting. “Thrilling though formidably difficult,” the course was grist for an intellectual’s mental mill, with short selections from Pindar, Aeschylus, Simonides, and the Gospels circulating among the students every Saturday from nine in the morning until one in the afternoon, under the watchful eye of Sam Seigle, a moonlighting professor from Sarah Lawrence, whom Amy adored. He “has the learning and the imagination to bring the entire scene alive, and almost every minute he is striking flint with some new insight, historical or etymological.” The material was manna for the voracious student.     Interviewed forty years later, Seigle remembered his student vividly. Coming from the avant-garde precincts of Sarah Lawrence, the professor taught without a syllabus, encouraging students in an elementary course to devise their own paths through new material in a strange tongue. They were forced to think for themselves, he said, especially about the nature of the words and phrases they were learning. “Always curious,” he said, Amy took to “the precision of syntax, and the exactitude of the language” with her typical intellectual alertness. She thrilled, her professor recalled, to the difference between an objective and a subjective genitive (e.g., the two meanings of “the love of God”), a concept she had previously not known. After the semester ended, Seigle never saw her again. Nor did he forget her.     The following semester, Amy stayed uptown, at Hunter College, within walking distance of home on East 65th Street. Here she read Homer with Irving Kizner. She described this to Vendler as “one of the great experiences of my life.” And to Salter she recounted the mouthwatering thrill of those famous, ringing and untranslatable Homeric phrases like “polyphlosboio thalasses” (“the much-sounding sea”) whose sound is integral to the meaning, regardless how you translate it. She found “it impossible to convey the peculiar excitement that goes with all this: it’s like arriving in a place you’d dreamed of all your life.”     When she was young, Amy had dreamed of Manhattan, of England, of Greece. She landed, successively, in all of them. She had dreamed, too, of the Greek language, and now was immersing herself in it. She landed in Greek as well as Greece. She traveled both in the flesh and in her mind. One lovely result was a Petrarchan sonnet—“Homer, A. D. 1982”—that appeared in What the Light Was Like. It begins with a nod to young John Keats’s first great poem, “On First Looking into Chapman’s Homer,” which conveys the excitement available to both real-life travelers and stay-at-home explorers who experience an original only vicariously, like Keats reading Homer in translation: “Much have I travelled in the realms of gold, / And many goodly states and kingdoms seen.” Amy was a traveler of both sorts. Clampitt’s 1982 Manhattan is like, and unlike, Keats’s 1816 London.     Here is the octave of her sonnet, dedicated to Kizner:

    Much having traveled in the funkier realms of Ac-     ademe, aboard a grungy elevator car,     deus ex machina reversed, to this ninth floor     classroom, its windows grimy, where the noise of traffic,     πολυφλοίσβοιο-θαλάσσηζ-like, is chronic,     we’ve seen since February the stupendous candor     of the Iliad pour in, and for an hour and a     quarter at the core the great pulse was dactylic.

An attentive reader can hear the poet mingling the dactylic rhythms (DUM-da-da) of Homer with the insistent iambs (da-DUM) of English, and alternating in her rhymes between the hard, consonantal endings in lines 1, 4, 5, and 8 and the more mellifluous, liquid sounds of lines 2, 3, 6, and 7. The “great pulse” is a throbbing, bilingual one, Homer’s and Clampitt’s together. This poem projects the energetic fun that a polyglot intellectual can have, and can share with her readers.

. .

More on this book and author:

Learn more about Nothing Stays Put by Willard Spiegelman.

Learn more about Amy Clampitt and browse other books by her.

Hear Willard Spiegelman read from Nothing Stays Put at Grinnell College in Iowa, on Friday, April 21 (no registration required) and hear his featured guest appearance on the Close Readings podcast with Kamran Javadizadeh.

Visit our Tumblr to peruse poems, audio recordings, and broadsides in the Knopf poem-a-day series.

To share the poem-a-day experience with friends, pass along this link.

[modulationinstitute]

AMIE Syllabus

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[the-music-keeper]

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