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The Mass Media

The Mass Media

Poetry’s Ordinary Moments: Simmered or Burnt

Hypergraphia is a fresh performance for the poetry revolution that is taking place already here at the university. Forty-two poems, an uneven collection: some simply restated clichés, others expressions of regular forms for regular emotions, some sounding conspicuous, others earnest, several simmered, but only nine burnt.

The Elusive Horses; the whole of Natalie Cooper due to her absence of full-necked poems, though her Untitled (Less Of A Luxury) stands with a murderous passivity; Cooper is a word exhibitionist.

Pappas is a venal beauty. His most exposed private shit creating something fantastic like Pond. Rusconi is more creative in her heist of classic tempers; she takes flight. Sgro’s Easter 2002 is a genuine creation, existential incorporating revengeful pleasures of words, wired and ready.

I read and reread Darrell Penta’s poems and can’t decide. The stark content is romantic, the poet refusing modernism and its discontents. Two other poets inside anti-modernist configurations: Gulet Shirdon and Jesse Howes gifted with air tight masteries of sharp leisure perforations, words killed for phrases.

Erik Foley’s Untitled explodes, covering every topic and figure of emotions: sex, fornication, and swamps with You Can Never Go Home Again. Janos’ Untitled is a deceptive, easeful God.

Computerized Hamburgers is a crystal thicket and a little epic in 13 lines! Reflections of a Drunk like almost all of Evan Sicuranza’s poems screaming for greater freedom.

Let poets explore the page. Every poem does not have to be vertical. Keep up the narcissistic care of first publishing your own work and your own ideas. But continue to diversify the group. Nothing is worse than a Poet’s Circle of the same styles and expression.

Hypergraphia hopes to publish a second collection in fall, 2002. I’ve been told this group is starting a web site and more important, a Poetry Center. The Poetry Circle will come around again and I hope with a more dynamic, creative cover and the level of serious, open poetry now in my hands.