From Paul Cocksedge’s Bourrasque. Via My Modern Met

• Though thousands of tweeting bibliophiles would have you believe there’s no such thing as too many books, there may be, in fact, a book surfeit: “It’s hard not to feel that we are in an era of massive overproduction. Just when we were already overwhelmed with paper books, often setting them aside after only a few pages in anxious search of something more satisfying, along came the Internet and the e-book … The idea is hardly new. In the Dunciad, 1742, responding to what he already saw as a deafening chorus of incompetent poets, Alexander Pope spoke of ‘snows of paper’ providing space for the ever more widespread publication of the ‘uncreating word.’ ”
• Elizabeth Bishop and Thom Gunn were fast friends—“I’ve met some of the poets—and the only one I still really like is Thom Gunn,” she wrote in a letter to Robert Lowell—but their first meeting was inauspicious. “I answered the phone one day and there was a very nice man I didn’t know … who asked me to come and have drinks with him and Elizabeth Bishop,” Gunn wrote. “Elizabeth had just moved to San Francisco. So I went over and … Elizabeth was drunk out of her mind. We made polite conversation all evening while Elizabeth occasionally grunted out a monosyllable.”
• On “the syntax and scansion of insanity” in King Lear: “This horrible, tragic figure is built up from a series of syllables set on the page … his rage and sorrow change dramatically from the first act to the last. The character is the language, and what we see over the course of the play is the utter destruction of that character.”
• On the poet Nathaniel Mackey’s pursuit of “the long song,” an antidote to the age of brevity: “Mackey seeks moments that defy ordinary time. He admires jazz improvisers who stretch a song’s boundaries as they perform … He happily remembers a John Coltrane show that consisted of one long song … ‘The long song, whether in music or in poetry, increasingly appeals to me … it creates what I call fugitive time—time that really is a flight away from the ordinary, from quotidian time, profane time.’ ”
• Ariana Reines talks to a beautiful old woman. Ariana Reines goes through a Charles Bowden phase. Ariana Reines is afraid: “For a week I’ve been wondering, how will I write for The Poetry Foundation, I said I would write for The Poetry Foundation, & with all that I do write the thought of putting anything on the internet ever again still fills my mouth with ash.  I’ve lost all desire to publish & even more, all desire to perform.”