Voice was all we wanted. Freed of bodies by the fog, we laughed, we sang, we shouted. It won the Poets' Prize.
The Glass Anvilan autobiographical prose companion to The Glass Hammer, includes examples of Hudgins's critical work along with personal essays, an interview with poet Nick Norwood, and Hudgins's thoughts on autobiography in general and The Glass Hammer in particular.
It was my duty to stay awake and sing if I could keep my mind on singing, not extinction, as blurred green summer, lifted to its apex, succumbed to gravity and fell to autumn, Ilium, and ashes. Hudgins's later works have moved away from more overtly southern themes and evolve from his former narrative style to a more formal and lyric quality.
Words would never heal the sick, feed the hungry, clothe the naked, blah, blah, blah.
These views manifest in his poetry, especially in After the Lost War, in which Hudgins approaches Lanier and the South with equal parts respect and bewilderment. His poetry is known for its dark humor, formal control, and adept handling of voice.
Hayden uses alliteration to play with repression and turns familiar scenes into the unfamiliar to emphasize swimming in and out of the conscious and unconscious mind I chose these poems because I am able to put myself into the story-line and understand what the writer is talking about.
This collection is comprised of 36 poems that are separated into 4 groups.
Robert Hayden, the author, uses imagery and diction to help describe the scene.