My first three books were probably read, if they were read, as located in the American south, as I was. The volatility you identify probably has to do with my education in and into poetry. Of many Lucretius loved Epicurus, knew the world through him; his meaning was clear: love as a way of knowing, of assuming the known. The word doll, for example, occurs and then re-occurs with such strangeness that I begin to see dolls in every line. I do not remember dreams well, at all, and go through spasmodic efforts at recalling them—notebooks beside the bed and all that. Bin Ramke was born in Port Neches, Texas, in 1947.
I welcome humor, and leave it there when it happens. The other great usefulness of the idea of sonnets for me is the tradition of sequences, which means one can move outward in little quantum leaps a quantum is a very small measure into a second sonnet, a third, and onward. I am recognized in this institution for my poetry publishing, but I have only recently been involved in much exchange with colleagues about poetry itself. And do you think themes of isolation have persisted throughout your books, despite radical changes in style and conception? What does this say about the relationship between the creative drive, which may be partially physiological, and the body? As to the poems of The Difference between Night and Day, no. A corollary to this is an embarrassing admission: I am the only person I know who always appears to be more intelligent than he is.
The new poems in Theory of Mind are grouped under the section heading Anomalies of Water. Much of this world wants to remain invisible, but invisibilities interact: light and wind and water engage each other air plus water equals cloud. And I always stumble over the quoted Greek which Pound quoted therefore I take absurdly into my moment. My point is, I had no idea where I was going, or that I was going anywhere. To some extent, from the perspective of my distance from most of the poems Ms.
It is significant for all of us that all real about Bin Ramke. The very word is derived from the word for make—from facere, which means to do or to make, just the opposite of what we usually mean by a fact, which is a thing not made, not made-up. I think I can do two things well—make connections between disparate ideas or images or words; and patiently wait for connections to occur during the process of investigating. In that time your poetry, perhaps more than the work of most poets, has undergone some fairly radical evolutions in style and conception. What kinds of considerations are at work when you decide to work in prose instead of verse? Bin Ramke Unfortunately, currently do not possess any details about this artisan Bin Ramke.
Care to talk about this poem?. I am saying all of this in retrospect—at the time I was unaware of his fame, aware only of how frightened I was of him and his methods. March 2005 Matter by Bin Ramke Few things are as delightfully overwhelming as the ceaseless, heartbreaking webs of possibility and verse that Bin Ramke whirls. In some way my turn to poetry later on may have been an attempt to hold on to that Romance of the individual against the demands of uniformity and normatization that the twentieth century American was subjected to. And yet I do very little traveling. What were some of your reasons for using this technique? In the large city at the edge of the lake, placid where the child watching and being watched does not sing to himself: My ship my little ship my shape of ship in water in air in mist in mind for Nicolas Light Wind Light Light.
But, should you have presently check out this publication and you're ready to produce the studies convincingly request you to spend your time to exit an overview on our website we can distribute each positive and negative testimonials. In Matter, Ramke investigates not only the physical realities of our world but the qualities that make things important to us, that give them weight. Can you talk a little about the composition process of this poem? Strangely enough, it can arise at the most gloomy of my considerations, and usually the elements of a poem that strike me as funny are not recognized as such by listeners at readings. I wanted to be smart, and I collected bits of language which struck me as especially apt, or beautiful, or for whatever reason. Up to my sophomore year in college mathematics was my chosen medium.
For one thing, the poem was almost completely a response to my watching a television documentary about Gericault. They also ask how perception turns into memory, and what is lost when this happens. I can even have fun with sounds and suggest those rhyme schemes, or with rhythms and tease out a sort of iambic-pentameter. Phipps Humanities Chair at the University of Denver, where he teaches creative writing and edits Denver Quarterly. Un-selfconsciously I did begin connecting through writing, but without very much faith that the connection was strong on the other end. Stanley Plumly was my first official teacher of creative writing—I was in my fifth year as an undergraduate, having weaved back and forth between Baton Rouge and New Orleans, and while I had then been writing poems for a couple of years I resisted any actual formal coursework.
In an interview in February of last year, Ramke foretold the strange magics employed in his most recent book, Matter. As an instance: because my family did in fact have a horse that died on Christmas Eve, and the experience was not one I had seen dealt with literarily, I played with that in an early poem. The editor of the Denver Quarterly, he teaches creative writing at the University of Denver and at the Art Institute of Chicago. And you are certainly correct that philosophical references and terms are all over the place. I, on the other hand, grew up at a time and in a place where a certain kind of isolation was the norm, and another kind of isolation was the goal. He lives with his wife, Linda, and their son in Denver. Franklin Street 80210; Dept of English, Sturm Hall, 2000 E.