|Author: ||Murphy, Remington|
Cramped by the restrictions of the post-1945 personal lyric, Remington began experimenting with the masque, wondering if that Renaissance relic (exemplified by Jonson, Milton’s Comus, and Spenser’s Shepheardes Calendar) could be rejuvenated with a contemporary format. The masques in Boogaloo are arranged chronologically, and America’s place in history is the overriding thematic concern. Are we as a culture a 24-hour diner with a juke box and salad bar, an idealistic people with vision, a seedy neon-glittering gentleman’s club, a dysfunctional black-ops people, a people with an abusive past, headed for a fascist future?
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