MEMETERIA by Thomas May

Music & the Arts

Pick-Up Poetry

Thomas May's avatarMEMETERIA by Thomas May

"Back from the cordial grave I drag thee" “Back from the cordial grave I drag thee”

Poetry’s ties with romance are ageless, but nowadays the connection tends to evoke sappy clichés and, at worst, Hallmark card-style confections. So why not add some panache by filling your quiver with lines from the great poets?

Or maybe not… Over at The Hairpin, Lizzy Straus recently compiled a list of first lines from Emily Dickinson poems not likely to be very useful as pickup lines. These especially should probably be excluded from your speed-dating repertoire:

144 – I never hear the word “Escape”
260 – I’m nobody! Who are you?
303 – Alone I cannot be
332 – Doubt me! My dim companion!
336 – Before I got my eye put out
339 – I like a look of agony
407 – One need not be a chamber to be haunted
456 – A prison gets to be a friend

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Filed under: Uncategorized

Glorified One

Glorified One, Leo Kenney (1945)

Glorified One, Leo Kenney (1945)

I was intrigued by the Stravinsky connection in this painting, currently on display as part of Seattle Art Museum’s Modernism in the Pacific Northwest: The Mythic and the Mystical. Leo Kenney (1925-2001), a native of Spokane, belonged to the second generation of the Northwest School of painters.

He referred to “The Glorification of the Chosen One” section from Stravinsky’s Rite of Spring as the inspiration for Glorified One.

Writes the curator Patricia Junker: “Yet Kenney was well-versed in Christian scripture and might just as well have been invoking the idea of resurrection in the post-apocalyptic second coming of Christ. A creature appears to live within stone, the one remaining sign of life in a landscape of complete destruction, perhaps a symbol of hope — or it may represent the final sacrifice to plead for peace and renewal.”

The enormous influence of Stravinsky’s score on other composers — which continues to this very moment — is well documented. Associations between this period of his work and the “primitivism” and Cubism of his colleague Pablo Picasso are also frequently discussed in a more general way (usually in terms of their putative influence on the music rather than the other direction). But I’m curious now about how the music of Sacre specifically influenced particular visual artists. Any other candidates?

Filed under: art exhibition, painters, Stravinsky

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