Asbestos Heights by David McGimpsey

By David McGimpsey

Should you tore off the tops of canola —

yellow canola flowers —

would you bounce in a bathtub of canola margarine

just to make the simplest of despair?

Implored via involved readers to be 'classy' and 'real' for as soon as, David McGimpsey has composed a chain of canonical note-books on all issues 'poetic' and 'poetical. ' Birds! plant life! historical past! unhappy leaders! The be aware 'aubade'! They're all the following, in a serial, country Fair–bound number of lyrics set within the working-class belvedere of Asbestos Heights.

Among the clean lemon-lime sodas of the realm and the rousing lyrics to 'Bootylicious,' Asbestos Heights amps up McGimpsey's trademark sideswiping of formal rhetoric and prosody with pop savoir faire to find his boldest assortment. think Petrarch in a Tweet conflict approximately the place to shop for a superb pair of father denims. think Yeats yet with much fewer swans. think a poet who used to be informed in the past that not anything stable ever comes out of a spot like Asbestos Heights.

'David McGimpsey is unfuckwithable, poetry-wise, and I'll stand on John Ashbery's espresso desk in my cowboy boots and say that. '

— Michael Robbins

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Extra info for Asbestos Heights

Sample text

This feeling could be exacerbated if the first draft has been written all over in red ink by the teacher. ) However, Graves promoted revision as an active way of changing perceptions about a text, as an adjustment of vision in writing or refocusing through the tangle of words on the anticipated future shape, argument and overall movement of a piece. qxd 10-Dec-02 6:43 PM Page 27 DRAFTING POETRY 27 The carpenter planes, sands, varnishes and sands again, all in anticipation of running the hand over the smooth surface, the pleasure to the eye of gently curving lines, the approval of friends.

In the rush to use an extensive array of diagrams, planning charts and writing frames, the creative process can be stifled unless careful consideration is given to an individual child’s specific development needs. A similar problem to that highlighted by Hull is identified by Myra Barrs and Valerie Cork. In their research on the links between the study of literature and writing development at Key Stage 2, they mainly concentrate on analysis of children’s prose writing. However, they do include several samples of poetry which demonstrate an overemphasis on simile and metaphor collection at the planning stages.

If this system is well handled it should naturally provide opportunities to explore the nature of poetry itself. Fleming also advocates that pupils should increasingly be able to address questions concerning the nature of poetry through comparisons with other types of language. Such an approach could help to lessen their feelings of bewilderment about the genre: ‘thus advertising jingles, song lyrics, raps, traditional poems and verses all have their place in the poetry classroom’ (Fleming, 1996: 42).

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