Monday, February 09, 2009

Larry Levis and Orson Welles

The numbered sections of the poem may be viewed as independent snow squalls within a larger metaphorical storm, or perhaps more accurately, as blizzard-like meditations that dissolve, in nearly cinematic fashion, in and out of the poem, permitting the discursive meditations of the poet. The device is reminiscent of the opening scene in Citizen Kane, where memory is triggered by decorative bric-a-brac––the swirling snow within a shaken crystal ball, the scene becoming clear only for a moment when the snow settles.


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