[In Preface to a Twenty Volume Suicide Note], where the poems are arranged chronologically, one can see even as the chaff flies that the grain is good. [Jones's] special gift is an emotive music that might have made him predominantly a "lyric poet," but his deeply felt preoccupation with more than personal issues enlarges the scope of his poems beyond what the term is often taken to mean…. I feel that sometimes his work is muddled, and that after the event he convinces himself that it had to be that way; in other words, his conception of when a poem is ready to printed differs from mine. But … he is developing swiftly and has a rich potential. Certain poems—especially "The Clearing," "The Turncoat," "Notes for a Speech"—show what he can do. They are beautiful poems, and others that are less complete have passages of equal beauty.
Since beauty is one of the least precise words in the language I had better define what I mean by it in this instance: the beauty in Jones's poems is sensuous and incantatory, in contrast to the beauty [found in poetry like Gil Sorrentino's] which is a sensation of exactitude, a hitting of nails on the head with a ringing sound. In his contribution to the notes on poetics at the back of … The New American Poetry, Jones speaks of Garcia Lorca as one of the poets he has read intensely; and what is incantatory (magical) in his work, while it is natural to him, may well have been first brought to the surface by the discovery of an affinity in the magic of Lorca. (p. 252)
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