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Born in Richton, Mississippi in 1948, Frank Stanford was adopted by a single mother into a upper middle-class Memphis family. The family moved to Mountain Home, Arkansas, in the early 1960s, and Stanford later attended but did not graduate from the University of Arkansas. In 1976 he founded Lost Roads Publishers, later taken over by C. D. Wright, with whom he lived the last few years of his life. Years of hard living got mixed together with a ferocious writing pace that would carve a new identity in American poetry. If identity can be said to be the subject of all American poetry, then Stanford, like his generational peer Bob Dylan (with whom he shares both gumption and a post-Beat strut) fashioned a fresh American myth out of the geographies of his imagination. Had he lived — he committed suicide by shooting himself three times in the chest a month before his 30th birthday in 1978 in Fayetteville, Arkansas — this year he would’ve turned 68.

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SparkNotes: As I Lay Dying: Quiz

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SparkNotes: As I Lay Dying: Sections 34–39

That passage footnotes rather than renders its narrative situation.“I don’t believe in tame poetry,” Stanford once said, “Poetry busts guts.” And so here is an American poetry that is wide-open to the flood of the imagination, always young, always renewing itself, and always ready for renewal.

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As i Lay Dying Anse Bundren Essays 1 - 30 Anti Essays

In the days leading up to the March 17 announcement of the 2015 NBCC award winners, Critical Mass highlights the . Today, NBCC board member David Biespiel offers an appreciation of poetry finalist Frank Stanford's "What About This" (Copper Canyon Press).

30/01/2015 · Get access to As i Lay Dying Anse Bundren Essays only from Anti Essays. Listed Results 1 - 30. Get studying today and get the grades you want. Only at

Get access to Anse Bundren Essays only from Anti Essays

All four of the major characteristics of Stanford’s writing can be found in this volume. And these characteristics also define American poetry which is one reason this volume is so important. These four concerns are 1) a continual search for new narratives, 2) a trust in private, regional geographies of both inner and outer feeling, 3) a belief in the erotic imagination, and 4) finally a striving for new combinations of meaning and forms. In Stanford’s search for new narratives you get neo-Modernist plot lines that remind you a little of Robert Penn Warren and a lot of James Dickey. Here’s an example: