Year: 2003

  • Robert Bly: The Dude Abides

    In his seventy-seven years, he has established himself as a world-class poet, teacher, social critic—and founder of the controversial “expressive men’s movement.” Standing in his studio—a nineteenth-century stable behind what was once a lone farmhouse atop Lowry Hill—Robert Bly is surrounded by books, papers, and icons. This is a monk’s cell. In one nook stands…

  • Repetition Compulsion

    “We have to speak up about this war. Now we don’t even count the bodies. We only count the American bodies. Woo-hoo. That’s even more self-obsessed. We kill hundreds and hundreds of Iraqis, and we don’t pay any attention to how many there are. We don’t call up the hospitals; we don’t call up the…

  • Robert Bly’s Greatest Hits

    Selected Poems, 1986 A “best of” anthology of a kind, these are really good poems—and the mixture of work sheds light on Bly’s stylistic and topical meanderings. You’ll find “Counting Small Boned Bodies” and other lamentations on Vietnam, as well as more than a hundred examples from three decades of work. The prose poems from…

  • Flip Your Wig!

    You can do it! Here are the answers: Magers—the King; Robinson—the Count; Santaniello—the Helmet; Binkley—Bozo the Piece; Grayson—Best in Show; Diana Pierce—Ferret-Glo; Murphy—the Wet Mop; Gatenby—the Rust Bucket

  • Bubbleheads!

    Bobbleheads have recently become all the rage among collectors of sports souvenirs. Those oversized craniums, wobbling on springs as if Parkinson’s disease were desirable in a doll, are a pleasant diversion when perched on your mantel or flanking your computer monitor. They’re funny not just because of their striking ugliness, but because they point beyond…

  • Sweet and French

    Who now reads Charles Morgan? Some years ago there was a revival of his novel The Gunroom, which proved to anyone who was interested that the middle one of Churchill’s three Traditions of the Royal Navy (Rum, Sodomy, and the Lash) was a living reality for young officers of the Edwardian Era. Morgan’s masterpiece is…