See his poems under the link “Key”
Andrew Frisardi, poem (2015)
Retired from Hell, Paolo Says It Was Heaven
Inferno V
Aroused beside her, I went mute
because my every word was pinned
to shredded semaphores of wind,
and my resistance now was moot.
Her gentleness put on a storm.
Beauty without a stitch of cloth’s
a bonfire crackling with moths.
I rose and tumbled with her form.
She flared. Maybe I seemed depraved
to those who watch the sun’s eclipse
through a glass, darkly, but I caved
in, helpless, when she twitched her hips.
Our favored region was the nether
as we held tight against the weather.
Measure: A Review of Formal Poetry, vol. 10, no. 2 (2015)
Philip Terry, “Dante’s Inferno” (2014)
“Following his irreverent, inspired Oulipean reworking of Shakespeare’s sonnets, in his new book Philip Terry takes on Dante’s Inferno, shifting the action from the 12th to the 20th and 21st centuries, and relocating it to the modern “walled city” of the University of Essex. Dante’s Phlegethon becomes the river Colne; his popes are replaced by vice-chancellors and ministers for education; the warring Guelfs and Ghibellines are reimagined as the sectarians of Belfast, Terry’s home city. Meanwhile, the guiding figure of Virgil takes on new form as Ted Berrigan, one-time Essex writer-in-residence and a poet who had himself imagined the underworld. In reimagining an Inferno for our times, Terry stays paradoxically true to the spirit of Dante’s original text.” –backcover
Venturino Camaiti’s Divine Comedy in 100 Satirical Sonnets
The Divine Comedy, narrated in 100 satirical sonnets composed in the Florentine vernacular, by Venturino Camaiti in 1921.
See the digital copy available through the University of Wisconsin Libraries here.
Contributed by Chiara Montera (University of Pittsburgh)
“Francesca Says More” by Olena Kalytiak Davis
“that maiden thump was book on floor, but
does it really matter who kissed who
first or then who decided to go further?
lower? faster? naturally, we took
turns on top. now here, now there, and up
and down… once it started no one even thought to think to stop.
so, we have holes inside our souls,
but mustn’t we begin by filling others’?
god gave us lips and hands and parts
that cannot possibly be saved for prayer. nor by.
i will not name name, claim fame by how well
or who i fucked or why, it happens all the time.
and it’s you, white pilgrim, whom next galehot seeks.
fuck. we didn’t read again for weeks.”
— “Francesca Says More,” from The Poem She Didn’t Write and Other Poems by Olena Kalytiak Davis
Of the poem, Dan Chiasson (The New Yorker) comments, “The speaker is a contemporary version of Dante’s tragic heroine Francesca, condemned to suffer in Hell with her lover, Paolo. The form — a form that Dante helped to invent — is the sonnet, here reduced to its rudiments: fourteen lines, a rumor of pentameter, a tart couplet at the close. The poem, one of Davis’s many ‘shattered sonnets,’ as she has called them, draws these lines in order to color outside of them; her small ‘i’ isn’t so much an homage to Cummings as it is a nod to text messages and Gchat, forms of written communication that operate under the conditions of instantaneousness previously reserved for speech. It was reading about the romance of Lancelot and Guinevere, as Dante tells us, that got Francesca in trouble to begin with; it was reading Francesca’s story about the dangers of reading that resulted in the book’s ‘maiden thump’ as it was unceremoniously kicked off the bed and replaced by the book Davis wrote.” — Dan Chiasson, “You and Me Both,” The New Yorker (Dec. 8, 2014)
Contributed by Silvia Valisa (Florida State University)
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