Charles Martin says in the forward that he found Poochigian's use of direct address refreshing, and I have to agree. I did enjoy feeling included in the poetry. But I also enjoyed the surprising variety of subject matter he covers in his poems- he talked about everything from plumbing to Medusa.
However, what I loved most about the poems is that they are great for reading out loud. While they come across as spontaneous and often conversational, still, as Dick Davis wrote, "Aaron Poochigian's technique is masterly." And it's his technique that makes the poems so readable. When I used to study Shakespearean acting, our teacher often admonished us to enjoy the language, and I find Cosmic Purr easy to enjoy in that way. It's not just the sounds and rhythms that are pleasing. Poochigian's thinking, the way he puts things, and the arguments behind what he says are pleasing too.
I don't usually like modern poetry. Good or bad, I often feel alienated from both the poet and his subject matter. But in Poochigian's poetry there is something for everyone, and, quality-wise, it's superb. It's already one of my new favorites, and I think it will be a favorite for years to come.
The title, Cosmic Purr is perfect. After reading my favorite poems I felt like a cat purring away with contentment. No matter my mood, whether dark or mellow, I found the words to fit the situation. I hope to read more from this poet.
I rarely like to compare between artists, and more so between poets, but there are so few writers and poets that managed to create this za-za-zoo feeling in me, and one of them was Bukowski, that I have to mention the similarities.
So when one picks up a poem book, there is a certain expectation of wanting to reach home, wanting to feel that warmth feeling that only real great poets can make you feel, if they are so well experts of their craft. And when those expectations are met, an amazing sense of vibration and satisfaction arise in you, along with great inspiration that you feel you can become just about anything you wish. All these and more happened to me when I sat down to read "The Cosmic Purr".
I could not put the book down and each time I flipped to another page, the former poem kept haunting me and tried to take over my sight and mind back to the former page. The language is intense and soothing at the same time and show immense amount of intelligence on behalf of its creator.
Very few are able to put black on white the way Aaron does here. And it is wonderful.
A Reflective Review by Andrea R. Garrison - Online With Andrea
The Cosmic Purr by Aaron Poochigian is a beautiful work of art. I was delighted when I heard about his book of poems because I have always loved poetry and for some reason there have not been many poetry books landing on my desk for me to feature on my program. The Cosmic Purr was quite refreshing. When I sat down to read it I could not put it down until I had finished the book. Then after reading it I had a lingering feeling to read it again and again. Aaron Poochigian has many dimensions in his poetry. He has a line in one of his poems that truly describes what I felt when I was reading his book of poetry. It reads..."One moment in suspense spiraling outward into eloquence..." I am not going to give you the title of the poem. You will have to read The Cosmic Purr to find out for yourself and believe me his poetry is worth exploring. Aaron Poochigian truly is a fine poet. For more information visit his website under his name and listen to the Online With Andrea interview with Aaron Poochigian.
Andrea R. Garrison Host-Producer Online With Andrea Author of - The Crossing Over of Mattie Pearl In The Presence Of Angels and Abernathy The Basset Hound
5,0 su 5 stelleNew Formalism and the Classic Contemporary Tradition
30 giugno 2012 - Pubblicato su Amazon.com
Like his fellow classicist AE Stallings, Aaron Poochigian forms a bridge between the dead luminaries he translates, and today's introspective verse. He makes use of the ancient, somber forms so many readers love, but he applies them to a muscular contemporary poetic ethos. And though his verse is very new, addressing current concerns for a living audience, it has a lyric texture of something much older, with a robust Greco-Roman spine.
When I say that Poochigian's verse has an older tenor to it, I don't mean he presents it like a museum piece. Poetry, for Poochigian, is no mere dead specimen for critics to parse and teachers to enforce on defenseless pupils. Consider these lines from his sonnet "Off the Clock":
Co-conspirators for an afternoon, we gathered, hush-hush, at the slow café. Last week was debts and earthquakes but today nothing is pressing. If a coffee spoon is stirring, if the shadows lengthen there beyond the awning, or the daily news, catching the breeze, rustles around our shoes, our minds are absent, and we just don't care.
Traditional forms work for Poochigian, as for the better known Stallings, because they see forms as tools to use and adapt as needed. Many New Formalist poets treat forms as hidebound and inviolable, and would not create the tension between enjambed lines and mid-line commas. That would be just too troubling. Poochigian uses forms like a carpenter uses power tools, customizing them with ad hoc splices to make them suit his needs.
This same malleability applies to his subject matter. As a classicist, known until now primarily for his translations of Sappho, he has spent his professional life immersed in the Greco-Roman world. But he lives in Judeo-Christian America, and in some of his verses, he views Jerusalem (to pinch a metaphor from St. Anselm) through the lens of Athens. Consider the opening stanzas of "The Bad Tree":
Why was the bad tree so appealing? Why did the fruit perspire so much? Its musk reached out, a red-light touch tugging them toward a funny feeling.
Their friend the snake spoke like his glide. Who could refute such breathiness? God never talked to them like this. They gobbled, giggled, ran to hide.
Some of Poochigian's topics will take nobody by surprise, yet his viewpoints certainly will. For instance, this book's concluding twelve-poem cycle turns a modern eye to ancient and medieval topics. In poems like "Medusa" and "Helen's Iliad," he presents myths often told through pugilistic male eyes. But he forces us to see them through the vantage of the women who are so often passive, yet so instrumental, in these archetypal stories.
Aaron Poochigian comes from a firm foundation, which he builds onto with confidence and panache. For a generation that has come to associate poetry with open mic gloominess or lit class antiquity, he serves as a breath of fresh air. He writes for ordinary readers, and I believe ordinary readers, if given the chance, will embrace him as few of today's poetic generation has been embraced by plain-spoken, literate masses.
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