Vanishing Act

Probably not a substantial claim: may not pass S2 (checkable).

In 'Once,' the volume of single words separated by commas and the midline colon demand that each anatomical part be interpreted in slow snapshots.

“The sheer volume of single words separated by commas, coupled with the midline colon in line nine, demand that we interpret each anatomical part in slow snapshots.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

The skittery dissociative poems Hoagland guards against continue to fill prominent literary magazines and continue to be written.

“Though the essay is now almost a decade old, the”

• cites HoaglandNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims. The quote only partly states this claim.

The speaker stares at them 'without embarrassment or coyness... afraid to ask for more'.

“The speaker stares at them,”

• cites [19]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [21]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

In Xu's poem, the speaker speculates whether the patchwork fragmentation of modernity is permanent and whether human interaction is worthless in hollow, lonely environments.

“In these fifteen lines, the speaker speculates whether or not the patchwork fragmentation of modernity is permanent, and wonders whether or not human interaction is worthless in hollow, lonely environments such as these.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

Xu works to unsettle and jostle the reader with her tense, syntax, and diction at every turn.

“However, at every turn Xu works to unsettle and jostle the reader with her tense, syntax, and diction.”

Classified as probably not a substantial claim. May combine two claims.

The scale of Kevin Prufer's Apocalypse is different from Xu's poem: Prufer's people forage for food after the ostensible end of the world, while Xu's denizens inhabit a world like our own, dying of disconnection and apathy.

“The scale of this poem is undeniably different than that of Xu's: here, people are foraging for food after the ostensible end of the world, while the denizens of Xu's poem appear to inhabit a world much like our own, dying of disconnection and apathy perhaps, dying of an existential rather than a physical hunger.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

The voice of Xu's poem becomes increasingly sure of itself, and the sheer number of declarative statements railroaded against one another is disorienting.

“The voice of the poem becomes increasingly sure of itself, and the sheer number of declarative statements railroaded against one another is disorienting.”

Classified as probably not a substantial claim. May combine two claims.

The speaker recalls being twelve years old and asking his mother to show him her breasts, a request she coolly indulges.

“The speaker recalls being twelve years old and asking his mother to show him her breasts: a request she coolly indulges.”

Probably not a substantial claim: may not pass S3 (load-bearing).

In Prufer's Apocalypse, the dominant character offers comfort, however limited or false, to the submissive character.

“As the two characters traverse the wasteland of their nomadic lives, the dominant character offers comfort, however limited or false, to the submissive character:”

Classified as probably not a substantial claim. May combine two claims.

The first line of 'Once' begins and ends with the personal pronoun, announcing the speaker as the center of the work.

“The first line of the poem begins and ends with the personal pronoun, announcing the speaker as the center of the work.”

Classified as probably not a substantial claim. May combine two claims.

In Apocalypse, the causes of the apocalypse are not made known, nor are the ultimate fates of the characters revealed.

“Crucially, we are not made aware of the causes of the apocalypse, nor are we privy to the ultimate fates of the characters whose peregrinations we follow.”

Classified as probably not a substantial claim. May combine two claims.

Prufer's Apocalypse is continuous and relates a sustained narrative.

“While Prufer's poem is continuous and relates a sustained narrative”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

'The Routine Things' shares content features with Olds' poem-parental nudity, exposure, curiosity, the prospect of shame.

“Though”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

The omission in Dunn's poem is both in terms of what did not happen that afternoon in his mother's bedroom and in terms of the details and personal perspective that are purposefully lacking in the poem.

“both in terms of what did not happen that afternoon in his mother's bedroom and in terms of the details and personal perspective that are purposefully lacking in the poem”

Classified as probably not a substantial claim. May combine two claims.

Dunn does not linger on careful descriptions of clavicle, breast, and areolae, asking us to mimic his own youthful scrutiny.

“Dunn does not linger on careful descriptions of clavicle, breast, and areolae, asking us to mimic his own youthful scrutiny.”

Classified as probably not a substantial claim.

Mark Doty classes the poets represented in the 2006 anthology Legitimate Dangers as liking rapid shifts, turns of tone, quick movements, and not wanting to be pinned down.

“[they] like rapid shifts, turns of tone, quick movements, and don't want to be pinned down.Their love of speed feels anxious or exuberant or both”

• cites DotyNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Legitimate DangersNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

In the current historical moment, discontinuous, invulnerable poetry remains fashionable.

“in our current historical moment, discontinuous, invulnerable poetry remains fashionable.”

• cites DotyNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

When the speaker in Apocalypse slides a gold ring from a dead girl and puts it on, he weds himself to death, presaging fears of his annihilation.

“When the speaker slides a gold ring from the finger of a dead girl and puts it on, he weds himself to death, presaging our ultimate fears of his annihilation.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Prufer's Apocalypse inquires seriously about the value of human interaction in a blasted empire.

“Prufer's poem too inquires seriously about the value of human interaction in a blasted empire”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Much of modernity is our experience of disorder, fragmentation, and discontinuity.

“As such, much of modernity is our experience of disorder, fragmentation, and discontinuity.”

Probably not a substantial claim: may not pass S2 (checkable).

There is not much else to 'Once' beyond the totalizing plot summary deployed in its first line.

“As we move through the poem, we discover that there is not much else to this story beyond the totalizing plot summary deployed in this first line.”

Classified as probably not a substantial claim.

From the fifth tercet to the end of 'The Routine Things,' Dunn conveys the major narrative of vulnerability that comprises the poem's climax.

“From the fifth tercet to the end of the”

Probably not a substantial claim: may not pass S2 (checkable).

Disavowing sources of knowledge by engaging discontinuous, skitter, non-lyrical forms causes loss of opportunity to assert values, especially values of marginalized groups.

“When we disavow the sources of our knowledge by engaging discontinuous, skitter, non-lyrical forms we lose, as Hoagland agrees, an enormous opportunity to assert values, and critically, the values of groups who have had to fight for their own inclusion in the marketplace of ideas and in the canon.”

• cites HoaglandNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• AssumptionRests on an assumption: The values of marginalized groups should be asserted and included in the marketplace of ideas and in the canon.

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

Poets working in continuous forms unroll a narrative before the reader as one would a red carpet leading to one doorway and one doorway only.

“the poet-seers working in continuous forms unroll a narrative before the reader as one would a red carpet leading to one doorway and one doorway only.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Snodgrass admits that Anne Sexton became too invested in display later in her life.

“Snodgrass admits that Anne Sexton, whom he famously mentored, became too invested in display later in her life.”

• cites The OriginalNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

A poetry which values clarity and continuity is obligated to develop and deliver information hierarchically and sequentially, accommodating human memory; a dissociative poetry evades knowability.

“A poetry which values clarity and continuity is obligated to develop and deliver information in ways that are hierarchical and sequential, ways which accommodate and orchestrate the capacities of human memory.In contrast, a dissociative poetry is always shuffling the deck in order to evade knowability (517).”

• cites HoaglandNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

Many contemporary poets fall prey to pitfalls of continuity in subtle ways that inadvertently strengthen the argument for a degree of discontinuity and greater lyricism in such poetry.

“Still, many contemporary poets fall prey to the pitfalls of continuity in subtle ways that inadvertently strengthen the argument for a degree of discontinuity and greater lyricism in such poetry.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

The project of continuity can seem very dictatorial and undemocratic, especially when we are writing in a discipline that still struggles to include women and people of color.

“The project of continuity can seem very dictatorial and undemocratic, especially when we are writing in a discipline that still struggles to include women and people of color (consider, for instance, the crucial work VIDA has done to”

• Also stated in: § Abstract · plain

  “count”

• Also stated in: § Abstract · plain

  “such authors in order to point out inherent biases and oversights).”

• cites VIDANot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The final image of broken hands in Xu's poem allows us to reconsider the entire poem as an environment of broken people in a broken world.

“The final image of broken hands allows us to reconsider the entire poem as an environment of broken people in a broken world.”

Probably not a substantial claim: may not pass S2 (checkable).

Because the pursuit of the Real is an achievement which all poets desire, acknowledging the necessity of hierarchical arrangement remains crucial for poetry today.

“Because this pursuit is an achievement which, arguably, all poets desire, acknowledging the necessity of hierarchical arrangement, then, remains crucial for poetry today.”

• cites MiłoszNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• AssumptionRests on an assumption: All poets desire the pursuit of the Real.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

While continuity in general need not imply narrowness necessarily, the constricted, repetitive exhibition in 'Once' is served by narrative continuity in negative ways.

“While continuity in general need not imply narrowness necessarily, the constricted, repetitive exhibition in this poem is served by narrative continuity here in negative ways.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Olds fails to say what the speaker turned a corner into, merely reporting that something changed, and crafts a revelation primarily significant for the speaker alone.

“However, not only does Olds fail to say what the speaker turned a corner into, merely reporting that something had changed, but she also crafts a revelation that is of primary significance for the speaker alone.”

Classified as probably not a substantial claim.

Attention is the most important commodity of the 21st century.

“Richard Lanham and others have classified attention as the most important commodity of the 21st century.”

• cites Richard LanhamNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

The sole revelation of 'Once' is personal and does not leave room for readers to enter the work or find redeeming judgments outside the speaker's closed personal epiphany.

“The sole revelation of the poem is, too, a personal one that does not leave much room for readers to enter the work or to find any redeeming judgments outside of the closed, personal epiphany of the speaker as the poem abruptly ends”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Retaining one's humanity in a cataclysm is grueling, and Prufer's balance of continuity and discontinuity invites us to consider this judgment.

“Retaining one's humanity in a cataclysm is grueling, and we are invited to consider this judgment because Prufer skillfully balances continuity and discontinuity in his work.”

Classified as probably not a substantial claim. May combine two claims.

In Dunn's poem, the mother-son relationship is complicated, undermined, then ultimately forgiven.

“here however, it is complicated, undermined, then ultimately forgiven.”

• AssumptionRests on an assumption: The mother-son relationship is often the source of mere infantile self relation.

Classified as probably not a substantial claim.

Prufer's Apocalypse champions the ability of human beings to tell stories in order to satisfy psychological needs.

“Critically, Prufer's engagement with narrative is such that in his narrative poem he champions the ability of human beings to tell stories in order to satisfy psychological needs.”

Probably not a substantial claim: may not pass S2 (checkable).

The reader of any poem must inevitably take some linear process in reading the poem.

“The reader of any poem must inevitably take some linear process in reading the poem.”

• AssumptionRests on an assumption: Readers experience all poems in linear time.

Probably not a substantial claim: may not pass S2 (checkable).

In the first tercet of Dunn's poem, the capitalized 'Mother,' the quick introduction of the 'I,' and the baldness of the poet-as-speaker's reprehensible thought process ('now I'll have a death poem') pack a heavy confessional punch.

“In the first tercet alone, the capitalized”

Probably not a substantial claim: may not pass S2 (checkable).

If we say continuous forms like narrative or post-confessional poetry are no longer viable or valid, poets from marginalized groups risk being edged out of the conversation.

“Poets from such groups, who have historically been spoken about rather than having spoken themselves, risk being edged out of the conversation when we merely say that continuous forms like narrative or post-confessional poetry are no longer viable or valid in the climate of our contemporary culture.”

• AssumptionRests on an assumption: The values of marginalized groups should be asserted and included in the marketplace of ideas and in the canon.

Probably not a substantial claim: may not pass S2 (checkable).

When we refuse to allow lived experiences into the realm of poetry, we lose what little authority poets do have in contemporary America.

“Whether we are pretending to be sages or cowboys, when we refuse to allow lived experiences into the realm of poetry, we also lose what little authority poets do have in contemporary America.”

• AssumptionRests on an assumption: Lived experience is a source of knowledge and value.

Classified as probably not a substantial claim.

In the second tercet of Dunn's poem, there is another reduction in the intensity of the speaker's persona when Dunn writes, 'I've forgiven myself,' but then, 'as sons are able to do'.

“Furthermore, in the second tercet, we are treated to another reduction in the intensity of the speaker's persona when Dunn writes,”

Probably not a substantial claim: may not pass S2 (checkable).

Allowing the reader to do the work of argumentation and epistemological speculation by choosing their own adventure on the terrain of the poem vacates the most important power poets have, which mainly takes the form of asserting value.

“Allowing the reader to do the work of argumentation and epistemological speculation by choosing their own adventure on the terrain of the poem vacates the most important power poets have, which mainly takes the form of asserting value, as Tony Hoagland maintains (”

• Also stated in: § Abstract · plain

  “Fear of Narrative”

• cites Tony HoaglandNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims. The quote only partly states this claim.

The repeated indefinite pronoun in Xu's poem draws attention to the trivial nature of the acts and to the triviality of the actors and the poem itself, to the detriment of the poem.

“The repeated indefinite pronoun draws attention to the trivial nature of the acts (”

Probably not a substantial claim: may not pass S2 (checkable).

The narrative discontinuity of poems such as Wendy Xu's is an important factor that contributes to their evasive, aesthetically hollow nature.

“But I would add that the narrative discontinuity of poems such as Xu's is another important factor that contributes to their evasive, aesthetically hollow nature.”

Probably not a substantial claim: may not pass S2 (checkable).

Discontinuity in poetry is detrimental to the art form.

“I argue that discontinuity in poetry is detrimental to the art form, even though continuous, exploitative, even sensational personal narrative continues to exist on the other side of the continuum.”

Probably not a substantial claim: may not pass S3 (load-bearing).

In the second set of tercets, Dunn continues to invest in a similar pattern of intense focus on the self followed by an outward motion into the world of others.

“In the second set of tercets, Dunn continues to invest in a similar pattern of intense focus on the self followed by an outward motion into the world of others”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

The prevalence of the skeptical, self-conscious mode has a great deal to do with contemporary poets' desire to avoid sentimentality.

“As Ball agrees, the skeptical, self-conscious mode's prevalence has a great deal to do with contemporary poets' desire to avoid sentimentality.”

• cites BallNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

Discontinuous or dissociative forms do a disservice to poetry and their readers because such work lowers the stakes of the art form by denying the coherence of the self that human beings naturally derive from narrative.

“But most importantly, discontinuous or dissociative forms do a disservice to poetry and their readers because such work lowers the stakes of the art form by denying the coherence of the self that human beings naturally derive from narrative.”

• AssumptionRests on an assumption: Human beings naturally derive coherence of the self from narrative.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Denying that poetic authority is earned or can be earned from lived experience is threatening to marginalized groups.

“Denying that the locus of poetic authority is earned or can be earned from lived experience is not only massively dishonest, but also threatening, in our day and age, to marginalized groups.”

• AssumptionRests on an assumption: Poetic authority is earned or can be earned from lived experience.

Probably not a substantial claim: may not pass S2 (checkable).

It is impossible to unsettle linear organization entirely since we experience all poems in linear time.

“On the other hand, it's impossible to unsettle linear organization entirely since we experience all poems-even poems inverted on the page, lacking in any regular syntax, or generated randomly from Google algorithms like word salad-in linear time.”

• AssumptionRests on an assumption: Readers experience all poems in linear time.

Probably not a substantial claim: may not pass S2 (checkable).

There is no such thing as escaping hierarchy totally.

“there is no such thing as escaping hierarchy totally.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

Poets have the opportunity to craft art that investigates what it means to be human: art that preserves morality, questions authority, brings solace, embodies beauty, and records history.

“But what poets do have is the opportunity to craft art that investigates what it means to be human: art that preserves morality, questions authority, brings solace, embodies beauty, and records history.”

• AssumptionRests on an assumption: Bearing witness is one of poetry's sacred functions.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims. The quote only partly states this claim.

Poets working in continuous forms are more likely to agree that the business of living is weird enough in itself, and poetry gives artists the ability to make sense of that strangeness, even if only briefly.

“Poets working in continuous forms, I believe, are more likely to agree that the business of living is”

Probably not a substantial claim: may not pass S2 (checkable).

Continuous modes are vital because of their insistence on the particulars of lived experience as sources of knowledge and value.

“I choose to wed my work instead to concepts of story, history, and admission-continuous modes I still find incredibly vital because of their insistence on the particulars of lived experience as sources of knowledge and value.”

• AssumptionRests on an assumption: Lived experience is a source of knowledge and value.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

'Once' is redundant in tone and idea; what is revealed is quotidian personal information, not an abundance of new perspectives.

“The poem is also redundant in tone and idea; thus what is revealed as we proceed with the continuous narrative arc is quotidian personal information, not an abundance of new perspectives.”

Probably not a substantial claim: may not pass S2 (checkable).

Continuous forms like narrative and first-person confession are crucial for poets from marginalized groups.

“In fact, continuous forms like narrative and first-person confession are crucial for poets from marginalized groups.”

• AssumptionRests on an assumption: Bearing witness is one of poetry's sacred functions.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Crafting and conceiving of continuous forms and poetry of the personal as nudes rather than naked bodies lessens the risks of display and excess self-regard.

“And as long as we craft and conceive of continuous forms and poetry of the personal as nudes rather than naked bodies, the risks of display, of excess self-regard (again, core risks of continuous forms) are lessened.”

Probably not a substantial claim: may not pass S2 (checkable).

Olds attempts to slow the speed of interpretation over 'Once's most discomfiting images, forcing the reader to live inside the continuous, suffocating viewpoint of the speaker.

“Olds attempts at every turn to slow the speed of interpretation over the poem's most discomfiting images, forcing the reader to live inside the continuous, suffocating viewpoint of the speaker as her eyes rove over her father's naked body.”

Probably not a substantial claim: may not pass S2 (checkable).

The move into the public sphere, the larger category of 'sons' rather than 'Stephen Dunn as a son,' releases the pressure of the first-person.

“The move into the public sphere, the larger category of”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Continuous poetic forms like narrative story-telling allow us to construct identity through narrative, which offers more coherence and wholeness than dissociative forms.

“Continuous poetic forms like narrative”

• Also stated in: § Abstract · plain

  “story-telling”

• Also stated in: § Abstract · plain

  “allow us to construct identity through narrative, which offers more coherence and wholeness than dissociative forms.”

• AssumptionRests on an assumption: Human beings naturally derive coherence of the self from narrative.
• AssumptionRests on an assumption: The self is constructed through story.

Classified as probably not a substantial claim.

Miłosz has argued in The Witness of Poetry that a poet can be faithful to real things only by arranging them hierarchically.

“As Czesław Miłosz has wisely argued in The Witness of Poetry,”

• Also stated in: § Abstract · plain

  “a poet discovers a secret, namely that he can be faithful to real things only by arranging them hierarchically”

• cites Miłosz, The Witness of PoetryNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Both forms, in their purest states, do a disservice to readers and to the discipline in their fraught struggle with the very notion of hierarchy, whether it is eschewed or embraced.

“both forms, in their purest states, do a disservice to readers and to the discipline in their fraught struggle with the very notion of hierarchy, whether it is eschewed or embraced.”

Probably not a substantial claim: may not pass S2 (checkable).

In Wendy Xu's 'Several Altitudes of Not Talking,' through quick leaps from image to image, from droll declaration to uninteresting revelation, the poem reads like a dance around feeling or sentiment rather than a true attempt to elicit either.

“Through the quick leaps from image to image, from droll declaration (”

• Also stated in: § Abstract · plain

  “You are part of other people but not like them”

• Also stated in: § Abstract · plain

  “to uninteresting revelation (”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

The missing pieces in Apocalypse inject uncertainty and possibility, giving the reader room for wonderment and imaginative engagement.

“these missing pieces inject just the right amount of uncertainty and possibility, giving the reader room for wonderment and imaginative engagement.”

Probably not a substantial claim: may not pass S2 (checkable).

There is such a thing as too much continuity, too much insistence of the sole vision of the poetic self which leads only back into the poet's head, closing off opportunities for larger significance with mere solipsism.

“Still, even as I here argue against discontinuity, there is such a thing as”

• Also stated in: § Abstract · plain

  “too much”

• Also stated in: § Abstract · plain

  “continuity, too much insistence of the sole vision of the poetic self which leads only back into the poet's head, closing off opportunities for larger significance with mere solipsism.”

Probably not a substantial claim: may not pass S2 (checkable).

Without any definite sense of identity or narrative continuity, Xu's poem's dissociative form, particularly in its midsection, makes its existence echo with inconsequence.

“But without any definite sense of identity or narrative continuity, the poem's dissociative form, particularly in its flabby midsection, makes its very existence echo with inconsequence.”

Probably not a substantial claim: may not pass S2 (checkable).

Profound narrative discontinuity is a form whose risks are not worth its rewards.

“Nevertheless, profound narrative discontinuity is a form, I maintain, whose risks are not worth its rewards.”

Classified as probably not a substantial claim.

Doty's endorsement and description of the works in Legitimate Dangers feels deeply ambivalent.

“Even as he tries to laud the works contained in the anthology, Doty's”

• Also stated in: § Abstract · plain

  “endorsement”

• Also stated in: § Abstract · plain

  “and description of the works therein (many of which exemplify the negative traits I confront here) feels deeply ambivalent:”

• cites DotyNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Legitimate DangersNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based).

The line about the city as silence and the dead girl's ring suggests the fundamental discomfiture experienced by these people in a landscape they do their best to accept.

“suggests the fundamental discomfiture experienced by these people in a landscape they do their best to accept (17).”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Poets writing in dissociative forms are right to be skeptical of the authority of the poet to order experience, to assert values, to make claims about the nature of humanity.

“poets writing in dissociative forms are right to be skeptical of the authority of the poet to order experience, to assert values, to make claims about the nature of humanity.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Poets have neither economic nor political power.

“To be blunt, poets have neither economic nor political power.”

Probably not a substantial claim: may not pass S2 (checkable).

The risks of continuous forms are smaller than the risks presented by discontinuous forms.

“the risks of continuous forms, again, are smaller than the risks presented by discontinuous forms.”

Probably not a substantial claim: may not pass S2 (checkable).

True discontinuity is a fiction.

“true discontinuity is a fiction.”

Probably not a substantial claim: may not pass S2 (checkable).

The introduction of the plural subjective first person leaves room, for the first time, for ideas outside of the speaker's personal experience.

“The introduction of the plural subjective first person leaves room, for the first time, for ideas outside of the speaker's personal experience.”

Classified as probably not a substantial claim.

Olds has stated that edification and utility is an aim to which she aspires.

“Olds has stated that this last aim-that of edification and utility-is one to which she aspires.”

• cites Sharon OldsNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

The speaker in Dunn's poem immediately seeks the antidote to confession, breaking the spell of continuous, totalizing personality.

“However, the speaker immediately seeks the antidote to confession, breaking the spell of continuous, totalizing personality”

Probably not a substantial claim: may not pass S2 (checkable).

In 'Once,' we end where we began, rooted firmly in the consciousness of a single entity hell-bent on relaying its point of view to the extinction of all others.

“We end where we began, rooted firmly in the consciousness of a single entity hell-bent on relaying its point of view to the extinction of all others.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Discontinuous forms are just as intellectually oppressive in a different sense.

“But in truth, discontinuous forms are just as intellectually oppressive in a different sense:”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Because the story is bookended by moments of discursive thinking that break the poem's narrative continuity, the personal nature of the writing gains wider significance and resists absolute self-absorption and subjectivity.

“because this story is bookended by moments of discursive thinking that break the poem's narrative continuity, the personal nature of the writing gains wider significance and resists absolute self-absorption and subjectivity.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Poems in discontinuous forms often jump from one clever, vague assertion to the next, focus intently on surface language, or attempt to emanate an air of cool, fashionable self-awareness while abjuring linearity, narrativity, or continuity of thought.

“Poems such as these often jump from one clever, vague assertion to the next, focus intently on surface language, or attempt to emanate an air of cool, fashionable self-awareness while all the while abjuring linearity, narrativity, or continuity of thought.”

Probably not a substantial claim: may not pass S3 (load-bearing).

Dunn injects some objectivity into the poem by breaking the original train of subjective thought, admitting, 'It's hard to know exactly / how we ease ourselves back from sadness...'.

“Then, we are presented with this even larger movement, where Dunn injects some objectivity into the poem by breaking the original train of subjective thought, admitting,”

• cites [11] Smith, Aaron. "The Very Act of Telling: Sharon Olds and Writing Narrative Poetry." Poets.org. Academy of American Poets (2005): n. pag. Web.Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [12] Snodgrass, W. D. The Original Confessional Poet Tells All. Interview with Hilary Holladay. Poets.org. The Poetry Foundation. 14 January 2009. Web.Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Prufer's Apocalypse uses continuous form to create full exterior and interior landscapes and identities for his characters, producing raw emotional intimacy and depth.

“But the full landscapes, both exterior and interior, that Prufer is able to create by staying with his subjects and his speakers for uninterrupted periods of time, are chilling in their raw emotional intimacy and depth.”

Classified as probably not a substantial claim.

Doty notes that the poets' preference is for performative speech that is not much interested in the recollection and recounting of events in the life of the poet.

“He notes that their preference is for what he calls”

• Also stated in: § Abstract · plain

  “performative speech”

• Also stated in: § Abstract · hedged

  “not, by and large, much interested in the recollection and recounting of events in the life of the poet”

• cites DotyNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

Narration and its systematic relatives implicitly honor Memory; the dissociative mode primarily values Invention.

“Narration (and its systematic relatives) implicitly honors Memory; the dissociative mode primarily values Invention.”

• cites HoaglandNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

Poems that make primary a continuous sense of narrative and identity construction risk exploiting vulnerability to the point of reducing the wider understanding that the vulnerable moment is supposed to reveal.

“At the same time, poems that make primary a continuous sense of narrative and therefore an identity construction persist on the other end of the spectrum, and risk exploiting the power of vulnerability to the point of enervating the gift of wider understanding that the”

• AssumptionRests on an assumption: The vulnerable moment in a poem is supposed to reveal wider understanding.

Probably not a substantial claim: may not pass S2 (checkable).

When we push order away, we give away one of poetry's most fundamental reasons for existing: the individual power to locate and assert value.

“Hoagland maintains,”

• cites HoaglandNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

Kevin Prufer's Apocalypse and Wendy Xu's poem both present a broken world inhabited by broken people.

“But there are striking similarities-we are presented with a broken world inhabited by broken people, and Prufer's poem too inquires seriously about the value of human interaction in a blasted empire:”

Probably not a substantial claim: may not pass S2 (checkable).

Bearing witness is impossible if we disallow proximate authorities on tragedy, injustice, and difference.

“Bearing witness, one of poetry's sacred functions, is impossible if we disallow proximate authorities on tragedy, injustice, and difference.”

• AssumptionRests on an assumption: Bearing witness is one of poetry's sacred functions.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

In Sharon Olds' 'Once,' her hyper focus on herself cannot match the total achievement of Stephen Dunn's equally candid poem 'The Routine Things Around the House,' which allows the construction of the speaker's self to matter to others outside the universe of the poem because Dunn is somewhat more discontinuous and discursive in his style.

“In a poem like”

• Also stated in: § Abstract · plain

  “Once,”

• Also stated in: § Abstract · plain

  “Sharon Olds' hyper focus on herself (or, her self) cannot match the total achievement of a poem like Stephen Dunn's equally candid poem of exposure,”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

Dunn's poem teeters precariously on the edge of narcissism in its first moments.

“It also teeters precariously on the edge of narcissism in its first moments”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

Poems that attempt to encapsulate discontinuity through discontinuous forms risk invulnerability, marginalization of witness and testimony, and insignificance.

“However, poems that attempt to encapsulate said discontinuity through discontinuous forms risk invulnerability, marginalization of witness and testimony, and thereby insignificance.”

Probably not a substantial claim: may not pass S2 (checkable).

The speaker's admission suggests self-criticism about his momentary narcissism.

“his admission suggests selfcriticism about his momentary narcissism.”

Classified as probably not a substantial claim.

Dunn's ultimate judgments about this narrative have to do with disjuncture, with lacunae, with 'what might have happened,' in that he inscribes the poem to 'incompleteness'.

“Dunn's ultimate judgments about this narrative have to do with disjuncture, with lacunae, with”

• cites [36]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [37]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [38]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [39]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [40]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [41]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [42]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [43]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [44]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites [45]Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

Poets who work in discontinuous forms reject the hierarchy imposed by continuous forms.

“Poets who work in discontinuous forms, at one end of the pole, reject the hierarchy imposed by continuous forms;”

Probably not a substantial claim: may not pass S2 (checkable).

If we consider another poem that risks continuity but does not give over to a continuous form wholly, we see how critical alterity is in crafting poems of artistic, philosophical, and emotional significance.

“If we consider another poem that risks continuity but does not give over to a continuous form wholly, we see how critical alterity is in crafting poems of artistic, philosophical, and emotional significance.”

Classified as probably not a substantial claim.

Miłosz champions the use of linear forms in order to create lasting poetry, poetry which tirelessly aims for the pursuit of the Real.

“Miłosz also champions the use of linear forms in order to create lasting poetry, poetry which tirelessly aims for”

• Also stated in: § Abstract · plain

  “the pursuit of the Real”

• cites MiłoszNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The tidal wave of information available through the internet and other media places increasingly tyrannical demands on our consciousness.

“The tidal wave of information available to us through the internet and other media places increasingly tyrannical demands on our consciousness.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

The pace of Wendy Xu's poem is frenetic, unsettling, and yet emotionally unsatisfying.

“The pace of the poem is frenetic, unsettling, and yet emotionally unsatisfying.”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Because 'Once' ends in the same image as it begins, the reader feels as if no ground has been gained and no travel has occurred in the poem.

“Because the poem ends in the same image that is presented at the beginning of the poem, that of the speaker's naked father sitting on the toilet, we feel as if we have not gained any ground, have not travelled anywhere in the poem.”

Classified as probably not a substantial claim.

By contextualizing the experience of the speaker in terms of the human condition, by asking how 'we' as a people return from the brink of despair, Dunn interrupts his first-person narrative by interjecting a moment of existential inquiry.

“By contextualizing the experience of the speaker in term of the human condition, by asking how”

Classified as probably not a substantial claim. May combine two claims.

The American poet of performative speech considers themselves to be more than human, and thus exempt from feeling, story, worthiness, and goodwill, making the same misstep as the cowboy.

“the American poet of”

• cites DotyNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites BallNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites HoaglandNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

Contemporary poetry has become prone to negative impulses because poets are pretending not to be human.

“Hoagland goes on to discuss the stultifying, abstract nature of much of contemporary poetry, and I would argue that the genre has become prone to these negative impulses because we, poets, are pretending not to be human.”

Probably not a substantial claim: may not pass S2 (checkable).

Radical discontinuity is a project whose risks outweigh its potential rewards.

“Radical discontinuity, finally, is a project whose risks outweigh its potential rewards.”

Probably not a substantial claim: may not pass S2 (checkable).

Wendy Xu's poem And Then It Was Less Bleak Because We Said So uses mercurial, discontinuous techniques that detract from the impact of its whole.

“Wendy Xu's”

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Dunn's poem is not a benediction to his mother, to the body, nor to his own subjectivity.

“Dunn's poem is not a benediction to his mother, to the body, nor to his own subjectivity.”

Classified as probably not a substantial claim. May combine two claims.

Hoagland holds that discontinuous poems will not risk their detachment, distance, freedom from accountability, or commit themselves to subject matter and the potential embarrassment of sincerity.

“No matter how we define discontinuous poems, Hoagland reminds us that”

• cites Fear of NarrativeNot matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

While his form is narrative, Dunn's overall project sanctifies omission instead of totality.

“While his form is narrative, Dunn's overall project sanctifies omission instead of totality”

• AssumptionRests on an assumption: Sanctifying omission instead of totality is a hallmark of many discontinuous poems.

Probably not a substantial claim: may not pass S2 (checkable).

Dunn is not content to merely report, as Olds seems to do in 'Once.'

“Dunn is not content to merely report, as Olds seems to do in”