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	<id>tag:ta-nehisicoates.theatlantic.com,2009://8/tag:ta-nehisicoates.theatlantic.com,2009://8.20621-</id>
	<updated>2009-11-03T19:37:36Z</updated>
	<title>Comments for Emily Dickinson #67</title>
	
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	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621</id>
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		<published>2009-07-04T00:50:50Z</published>
		<updated>2009-07-04T00:08:51Z</updated>
		<title>Emily Dickinson #67</title>
		<summary>{Dwayne Betts}Success is counted sweetestBy those who ne&apos;er succeed.To comprehend a nectarRequires sorest need.Not one of all the purple HostWho took the Flag todayCan tell the definitionSo clear of VictoryAs he defeated - dying -On whose forbidden earThe distant strains...</summary>
		<author>
			<name>Dwayne Betts</name>
			
		</author>
		
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			<![CDATA[<div><b>{Dwayne Betts}</b></div><div><br /></div>Success is counted sweetest<div>By those who ne'er succeed.</div><div>To comprehend a nectar</div><div>Requires sorest need.</div><div><br /></div><div>Not one of all the purple Host</div><div>Who took the Flag today</div><div>Can tell the definition</div><div>So clear of Victory</div><div><br /></div><div>As he defeated - dying -</div><div>On whose forbidden ear</div><div>The distant strains of triumph</div><div>Burst agonized and clear!</div><div><br /></div><div><br /></div>]]>
			
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	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621-comment:219393</id>

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		<title>Comment from Vance Maverick on 2009-07-04</title>
		<author>
				<name>Vance Maverick</name>
				<uri></uri>
		</author>
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				<![CDATA[<p>I like how she applies "forbidden" to the dying soldier's ear (because the triumph he hears through it is forbidden to him), and "agonized" to the strains of triumph (whether because he hears them through agony, or because they cost an agony to those who are actaully earning them).</p>

<p>Do you know the date on this?  In particular, had the Civil War actually begun?  This doesn't seem to depend on more than an abstract understanding of war (not a knock, of course).</p>]]>
		</content>
		<published>2009-07-04T04:06:05Z</published>
	</entry>

	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621-comment:219437</id>

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		<title>Comment from J.W. Hamner on 2009-07-04</title>
		<author>
				<name>J.W. Hamner</name>
				<uri></uri>
		</author>
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				<![CDATA[<p>There is no poet I despise more than Emily Dickinson.  She is the Anti-Poet.  A giant hack mixed with a heavy does of anachronism.  I can't believe anyone could read that nonsense and not want to stab themselves.  Repeatedly.  What is the draw?  I don't get it.</p>]]>
		</content>
		<published>2009-07-04T08:04:46Z</published>
	</entry>

	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621-comment:219481</id>

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		<title>Comment from CitizenE on 2009-07-04</title>
		<author>
				<name>CitizenE</name>
				<uri></uri>
		</author>
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				<![CDATA[<p>                      4th of July Med-<br />
                           Itation</p>

<p>                      Freestyle Vino</p>

<p>                       COMPOSITION!</p>

<p>                   my 2 cents of being</p>

<p>                       IN RELATION</p>

<p>                     WITH A UNIVERSE</p>

<p> <br />
                        OF COLOR</p>

<p>BURST OF BLOSSOM   MAN-MADE THINGS AS WELL  POW!<br />
 </p>

<p>                     EASY PEASY<br />
                     PARA VIVIR</p>

<p>                     Adoration<br />
                    Convocation<br />
                     Variation<br />
                     Striation<br />
                       JAZZ</p>

<p>                       No. 1<br />
                   It’s LEMONADE</p>

<p>(the whole thing should be centered but hard to get the effects here, Happy 4th)</p>]]>
		</content>
		<published>2009-07-04T14:29:28Z</published>
	</entry>

	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621-comment:219489</id>

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		<title>Comment from Dwayne Betts on 2009-07-04</title>
		<author>
				<name>Dwayne Betts</name>
				<uri></uri>
		</author>
		<content type="html" xml:lang="en" xml:base="">
				<![CDATA[<p>I'll post another poem today. Then my last post - and  I hope you enjoy them both. As for Dickinson as a poet - I think she's fly. And I think she has the memorable lines that say something that need to be said - think about this Much madness is divinest sense/ to the discerning eye. That's a dope couplet - but more than that the poem it comes from is just on point, telling in a short space what of the risks of being willing to stand out.</p>

<p>But on Dickinson as a poet - I'm not here to be her defender. I will say that you can read one of a thousand books written on her and then quip with those writers. They'd probably even engage you in the argument. I think you'd lose. But it all depends on what you go to poetry for.</p>]]>
		</content>
		<published>2009-07-04T14:56:52Z</published>
	</entry>

	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621-comment:219549</id>

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		<title>Comment from Bruins2Lakers on 2009-07-04</title>
		<author>
				<name>Bruins2Lakers</name>
				<uri></uri>
		</author>
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				<![CDATA[<p>jW<br />
I used to feel similarly and it annoyed me when I asked my  American lit students to flip through the 8 lb. textbook and choose a poem that  their group could analyze for the class and they always chose her poems because they were short, ignoring far  richer stuff--Langston Hughes, Countee Cullen, Julia Alvarez, et al. Then, amazingly, they had trouble with these short little gems like "Hope is a Thing with Feathers" or "Because I Could Not Stop for Death." So together we'd deconstruct each line, each word usage--and a funny thing happened: There was a whole lotta something behind what appeared to be a whole mess of nothing.<br />
Her poems are  like those homes that from the front facade look small, but the lot behind it runs deep. Remember this woman shunned fame, feared critics, and kept it all in a shoebox for years until it was discovered posthumously. <br />
She's not my favorite, but when you take it apart and reassemble she's got the messages on point in few words. Kind of like Hemingway, who I never got either, but I liked his succinctness even if I'd rather read the wordy Faulkner.<br />
You know who you NEED to have here is Wanda Coleman. Ever read Aptitude test? I've seen people just about fall out of their chairs. Same with Charles Bukowski, although he also has penned some very tame poems, as well. Like this one:<br />
____________________________________________________________________</p>

<p>The meek have inherited </p>

<p>if I suffer at this<br />
typewriter <br />
think hoe I'd feel<br />
among the lettuce-<br />
pickers of Salinas?</p>

<p><br />
I think of the men <br />
I've known in<br />
factories<br />
with no way to<br />
get out--<br />
choking while living<br />
choking while laughing<br />
at Bob Hope or Lucille <br />
Ball while<br />
2 or 3 children beat<br />
tennis balls against<br />
the walls.</p>

<p>some suicides are never<br />
recorded. <br />
</p>]]>
		</content>
		<published>2009-07-04T18:14:49Z</published>
	</entry>

	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621-comment:219552</id>

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		<title>Comment from Bruins2Lakers on 2009-07-04</title>
		<author>
				<name>Bruins2Lakers</name>
				<uri></uri>
		</author>
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				<![CDATA[<p>how not hoe (LOL)</p>]]>
		</content>
		<published>2009-07-04T18:15:36Z</published>
	</entry>

	<entry>
		<id>tag:ta-nehisicoates.theatlantic.com,2009://8.20621-comment:219563</id>

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		<title>Comment from like totally down on 2009-07-04</title>
		<author>
				<name>like totally down</name>
				<uri></uri>
		</author>
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				<![CDATA[<p>Richard Wilbur mentions this poem in his excellent article about Dickinson, "Sumptuous Destitution".</p>

<p>Here's some sumptuous destitution from Wilbur, the final stanza of Hamlen Brook:</p>

<p><br />
Joy’s trick is to supply<br />
Dry lips with what can cool and slake,<br />
Leaving them dumbstruck also with an ache<br />
Nothing can satisfy. </p>]]>
		</content>
		<published>2009-07-04T19:36:39Z</published>
	</entry>

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