An overview of the football poem
The point I was making to the editor of the Observer was that the ambassador found great offence in the word genitals. It is not a successful piece of work. We hebben hun ballen aan flarden geschoten, Aan flarden.
This sense of mourning infuses the first half of playtime. When an Iraqi air-raid shelter was hit, American officials quickly went on television and claimed that it was 'a command-and-control facility'. Where physical was fleet and freewheeling, dispensing with full stops and commas in favour of breaks and gaps that turned the lines into a breathless, headlong hurtle, playtime, from the off, appears tautly and heedfully controlled.
Anyway, we had a quite amiable chat. Ze eten hem op. This was reported by your newspaper as a fact and it was a horrific and obscene fact. So that is the reason for "We blew the shot out of them.
Famous football poems
It was finally published in Britain in January , by a new newspaper called Socialist, with a limited circulation. One day one guy was very tired, didn't move fast enough, so a car hit him and he sprawled fifty feet away, sexy, but he was dead, blood like lipstick, then those great boys stood together on the sidewalk and we joined them, mixing in like one big friendship to the cops, who asked if we were, and those boys were too sad to counter. McMillan shifts from the present into the past, from experience to remembered innocence, and the sense of loss is palpable While the similarities between the collections are writ large, however, tonal differences quickly emerge. I then sent it to the Observer. I said the reality I was referring to was that of electric current on your genitals. I received a very odd letter, which said, in sum, that the poem had considerable force, but it was for that very reason that they were not able to publish it. So I was delighted to hear that. Because, I said, 'I do believe the Guardian has a responsibility to publish serious work, seriously considered work, which I believe this to be. Death was smothered in the language of technology and bureaucracy. Martin's Press LLC, You've really given me a very bad headache with this one.
The trouble is the language, it's the obscene language. Within the bodies of the poems, the same shift is evident. He said, 'I want to publish it but I seem to be more or less alone.
An overview of the football poem
People get very offended by this and that's why they think we are going to lose readers. I left the house. I'd keep that to myself if I were you, chum,' I said. But the editor of the Observer wrote to me and said he couldn't publish, with great regret. Even the contents page reads like an exercise in authority. This poem uses obscene words to describe obscene acts and obscene attitudes. And I was very pleased with the use of the word 'chum'. When an Iraqi air-raid shelter was hit, American officials quickly went on television and claimed that it was 'a command-and-control facility'. But in this, his follow-up collection, playtime, the poet does an impressive job of shrugging off expectations and writing just as cleanly and clearly as he did first time around. So I sent it to the Guardian and the then literary editor came on the telephone to me and said, 'Oh dear. Behind the poem lies a controlled rage: that it was rejected, even by those who sympathised with its sentiments, offers melancholy proof that hypocrisy is not confined to governments and politicians. Nu wil ik dat je naar me toe kamt en me op de mond kust. Because, I said, 'I do believe the Guardian has a responsibility to publish serious work, seriously considered work, which I believe this to be. Oooh, I think we're in for real trouble if we try to publish it in the Guardian.
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