A poet, novelist, and essayist, her debut poetry collection, Lessons on Expulsion, was published by Graywolf in July 2017, and was a finalist for the PEN America Open Book Award. Sánchez is the daughter of Mexican immigrants. (I figure that Caine was the best of the bunch.) I guess I also figure that any poet looking to model herself or himself on Hollywood cliches is screwed from the start.Erika L. It is a bad movie trading on a great story. I had read Cain's novel before I finally got around to seeing a replay of the movie. Since the movie "Double Indimnenty" has been exampled I got one more example to cite of Hollywood's bastardization of lit. Name me one Hollywood production of a Chandler story that brings out Chandler's many descriptors of environment.\r And I figure his penchant for description and mood painting imprinted all of his novels. I figure his move to California with his mother was traumatic, environmentally traumatic. I got he was Georgian (as in Edward Marsh's group) in his poetic inclinations and agriculturally-centric. I had read most of his novels, many of his short stories, his classic essay on detective fiction, then by chance I came upon his poetry written before he emmigrated to America from England. Then there is Raymond Chandler, another creator, mostly by default, of Hollywood's film noir. A Hammett novel has always put me in mind of a tragedy written by Sophocles: there action gets carried in dialogue.\r His Sam Spade regularly predicated a story's denouement on intense dialogue, in which moments Spade was less the tough guy working in Cliff Eastwood type one liners and more the interlocuter. Rather than pointing a so-called poet noir to a film, what is almost always an artificial manufacture of Hollywood operating in cliches, I would be more inclined to point the poet to the story behind the film. I've been trying to decide if the blog is worth the post investment. Gasping for my life, my lungs find only stale air Streetlamps spit halos of light in the boozy night Her thin eyebrows, false lashes, painted red lips. For the sake of coherence, I didn't really care if they broke these arbitrary rules, but for the most part they stayed within the parameters I laid out. (They could feel free to add "small words" such as articles and prepositions). With that group-generated word pool, I asked individual students to tell a story that uses no verbs or adjectives that were not on their lists. When they were finished, I asked them to write down 10 "tough guy" lines. As a first step, I had students work in small groups to make a list of 50 concrete nouns, objects that fill the frame. Then, while we were examining mise-en-scene (for our purposes, the physical setting of the film) in movies such as Double Indemnity and Chinatown, I asked students to write noir poems of their own. Check out the podcast on Poetry Noir from Poetry off the Shelf. (title links to an NPR interview with Young) and some excerpts from Robert Polito's fine new collection, Holywood and God. In our film noir unit, we read some terrific noir poems from Kevin Young's Black Maria. Since I'm always thinking of ways to use poetry in the classroom, we started the year by screening Run Lola Run while we read Oedipus the King (the brilliant Robert Fagles translation replete with devastatingly ironic line breaks). This year I'm teaching a new class called Literature and Film.
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