By Richard Hugo
Richard Hugo, whom Carolyn Kizer has called" the most passionate, vigorous, and sincere poets living," right here bargains a unprecedented selection of new poems, each a "letter" or a "dream." either letters and goals are precise manifestations of alone-ness; Hugo's exact senses of alone-ness, of areas, and of different everyone is the forces in the back of his distinctively American and more and more authoritative poetic voice. each one letter is written from a selected position that Hugo has made his personal (a "triggering town," as he has known as it somewhere else) to a pal, a fellow poet, an outdated love. We learn over the poet's shoulder because the city triggers the mind's eye, the friendship is re-opened, the poet's selfhood is explored and illuminated. The "dreams" occur by surprise (as goals do) one of the letters; their haunting photos provide additional intensity to the poet's exploration. Are we overhearing them? who's the "you" that goals?
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Extra info for 31 Letters and 13 Dreams: Poems
TREATMENT FOR A MOTION PICTURE ON “SOFTWARE” P r e p a r e d f o r I B M W o r l d Tr a d e C o r p . W r i t e r: Wi l l i a m G a d d i s The motion picture opens with a scene of a man happily playing the piano—or so it appears, though we cannot see his hands on the The Rush for Second Place 17 keys. When this scene is established, the off-screen Narrator states that this is a ﬁlm about problem solving, and observes that almost any problem can be solved that can be stated adequately. This man, he continues, has a problem.
Is it worth being done by computer in terms of time saved? Is it adaptable to existing programs? Is it unique? And as an example of a problem situation less complex and desperate than that of the pedestrian, we turn to the dinner-party planning sequence taken from the IBM ﬁlm View from the People Wall, in which a woman is shown planning the seating of her guests by trial and error. The Narrator points out the parallel in her approach to preparing computer software: stating the problem; collecting the information; abstracting the information; building the model; and manipulating the model.
Seelye, February 2, 1963). Gaddis avoided tonal problems that plague the early nonﬁction by writing the novel almost entirely in dialogue, recycling as art the clichés, false starts, stutters, sound bites, and other waste products of the programmatic culture itself. Once he’d decided to go this route, he had no hesitation in breaking up the short essay he had labored over, and presenting it, through Gibbs, in a form more fragmentary than the original, which appears here for the ﬁrst time. A G A P E¯ A G A P E The Secret History of the Player Piano PLEASE DO NOT SHOOT THE PIANIST HE IS DOING HIS BEST Posted in a Leadville saloon, this appeal caught the passing eye of Art in its ripe procession of one through the new frontier of the 8 William Gaddis eighties, where the frail human element still abounded even in the arts themselves.