Hayes takes elements of form and turns them upside down: his “Sonnet” consists of one line repeated fourteen … In the world of poetry that makes him “up and coming.” What struck me about Hip Logic is how it rises above much of the strife plaguing contemporary poetry by blending multiple genres, rather than conforming to one. We sliced the watermelon into smiles. We sliced the watermelon into smiles.
We sliced the watermelon into smiles. Hayes has taken up—or taken down—the sonnet sporadically throughout his career, most famously with a tour de force called “ Sonnet ” in 2002’s Hip … Hayes has taken up—or taken down—the sonnet sporadically throughout his career, most famously with a tour de force called “Sonnet” in 2002’s Hip Logic; the poem comprises fourteen repetitions of the same line, “We cut the watermelon into smiles.” Hayes’s fourteen iterations play on racist stereotypes that associate rural black Americans with watermelon and fixed grins, and on the assumption that all sonnets … Hayes is clearly using the sonnet form, by breaking it, to make a new kind of meaning, but at the same time harnessing the power of the form. Terrance Hayes is in his thirties, and Hip Logic is his second book. Sonnet Terrance Hayes from Hip Logic. His work ranges from a series of more than 100 “anagram poems” to variations on a Japanese presentation style called PechaKucha. We sliced the watermelon into smiles. We sliced the watermelon into smiles. SONNET By Terrance Hayes We sliced the watermelon into smiles. Born in Columbia, South Carolina, Terrance Hayes earned a BA at Coker College and an MFA at the University of Pittsburgh. S in slice, ON in watermelon, T in into. Wow. We sliced the watermelon into smiles. A poem in his collection Hip Logic simply titled “Sonnet” repeats fourteen times: “We sliced the watermelon into smiles.” Except here it is as if he exposes the whole nexus of historical, cultural, linguistic, and ideological thought that yields and builds and justifies white supremacy, American-style, … Hayes’ most recent collection, “How to Be Drawn,” debuted this month. We sliced the watermelon … Meanwhile, one of his best-known poems is a sonnet that repeats the same line (“We sliced the watermelon into smiles”) 14 times. This is not the first time Hayes has used the sonnet form as metonymic history of racialized violence. Terrance Hayes’s most recent publications include American Sonnets for My Past And Future Assassin (Penguin 2018) and To Float In The Space Between: Drawings and Essays in Conversation with Etheridge Knight (Wave, 2018). In his poems, in which he occasionally invents formal constraints, Hayes considers themes of popular culture, race, music, and masculinity. Next week we take on two different villanelles will discussing how syntax and voice create the spine and joints of a poem.
We sliced the watermelon into smiles. Hayes has taken up—or taken down—the sonnet sporadically throughout his career, most famously with a tour de force called “ Sonnet ” in 2002’s Hip … Hayes has taken up—or taken down—the sonnet sporadically throughout his career, most famously with a tour de force called “Sonnet” in 2002’s Hip Logic; the poem comprises fourteen repetitions of the same line, “We cut the watermelon into smiles.” Hayes’s fourteen iterations play on racist stereotypes that associate rural black Americans with watermelon and fixed grins, and on the assumption that all sonnets … Hayes is clearly using the sonnet form, by breaking it, to make a new kind of meaning, but at the same time harnessing the power of the form. Terrance Hayes is in his thirties, and Hip Logic is his second book. Sonnet Terrance Hayes from Hip Logic. His work ranges from a series of more than 100 “anagram poems” to variations on a Japanese presentation style called PechaKucha. We sliced the watermelon into smiles. We sliced the watermelon into smiles. SONNET By Terrance Hayes We sliced the watermelon into smiles. Born in Columbia, South Carolina, Terrance Hayes earned a BA at Coker College and an MFA at the University of Pittsburgh. S in slice, ON in watermelon, T in into. Wow. We sliced the watermelon into smiles. A poem in his collection Hip Logic simply titled “Sonnet” repeats fourteen times: “We sliced the watermelon into smiles.” Except here it is as if he exposes the whole nexus of historical, cultural, linguistic, and ideological thought that yields and builds and justifies white supremacy, American-style, … Hayes’ most recent collection, “How to Be Drawn,” debuted this month. We sliced the watermelon … Meanwhile, one of his best-known poems is a sonnet that repeats the same line (“We sliced the watermelon into smiles”) 14 times. This is not the first time Hayes has used the sonnet form as metonymic history of racialized violence. Terrance Hayes’s most recent publications include American Sonnets for My Past And Future Assassin (Penguin 2018) and To Float In The Space Between: Drawings and Essays in Conversation with Etheridge Knight (Wave, 2018). In his poems, in which he occasionally invents formal constraints, Hayes considers themes of popular culture, race, music, and masculinity. Next week we take on two different villanelles will discussing how syntax and voice create the spine and joints of a poem.