DETROIT—On May 17, the theater company, Apollo’s Troupe, will debut the stage-adaptation of the critically- acclaimed epic poem, The Parliament of Poets, written by Michigan poet Frederick Glaysher and published in 2012 by Earthrise Press. The show will be at the newly-renamed Underground at the Hilberry Theatre (formerly The Studio Theatre) on Friday, May 17 and Saturday, May 18 at 8pm and Sunday, May 19 at 3pm. Tickets are $28. WSU Faculty, Staff, and Students are eligible for discounts. Go to www.wsushows.com for more information and to purchase tickets….
New review by Umme Salma, International Islamic University, Department of English Language and Literature, Chittagong, Bangladesh. Transnational LiteratureVol. 7 no. 1, November 2014, Australia. Over 1,200 words.
“The purpose of the spiritual journey of the Poet of the Moon is to seek deliverance of the modern human from the captivity of nothingness, nihilism and atheism, and from the resulting chaos and chasm of soul. From the versatile he gets scores of life-affirming lessons, yet the core meaning of all is that the Supreme Being as well as the earth is one, and so human beings are one nation irrespective of their clan, class, color,race, religion and gender. In this earth human beings are part of the Great Mystery’s creation and their duty is to keep the balance and harmony of the universe, to achieve union, to choose sacrifice, and to be self-controlled. In this manner Glaysher sings the song of ‘one Earth, without borders, Mother Earth, her embrace encircling one people, humankind’ (19)….”
“Bravo to the Poet for this toilsome but brilliant endeavour.”
Accidentally including three or four poems by another poet among his collection of short poems, Fireflies (Lekhan), what Tagore did was discussed in 2002, in a different context, by Richard Posner, in “On Plagiarism” in The Atlantic Monthly:
“…the writer who plagiarizes out of … forgetfulness, the latter being the standard defense when one is confronted with proof of one’s plagiarism.”
It was a mistake. Tagore immediately owned it. He was human, too, and graciously admitted he had erred, when it was pointed out to him, dealing with many manuscripts from years ago, jumbled together. Why should it be held against him by later sticklers?
Now available in
The Myth of the Enlightenment: Essays
Forthcoming, September, 2014.
I finished the second full draft of The Parliament of Poets a few days ago. It’s now a readable manuscript, entirely cast in verse.
For decades I really didn’t know how to begin, though I made notes and thought about the book endlessly. I had written The Bower of Nil as a book-length narrative poem thinking it would be a bridge to writing an epic. In my mind, the three sections were based on the Greek choric dance, which I didn’t actually make clear until the ebook edition in 2010. Nevertheless, the enormous amount of reading of philosophy that I had done for The Bower of Nil helped me to understand how to handle and structure a theme around a cultural story in dramatic, literary terms. That in itself was a considerable leap forward from the lyric poetry of Into the Ruins, at times a story told or suggested in lyric sequence. The universal epic scale proved far more difficult, even arduous. It was extremely difficult and challenging to absorb and synthesize the decades of reading, my whole life, truth be told, and beyond my own personal life, into a literary, epic form that might hope to speak to our global age.
It was Virgil who finally made me realize how to begin. He had written out the Aeneid first in prose and then worked it into verse. I thought of that for years. That opened the door for me. And then the time was right.
I know I can’t possibly be objective about the book. I’ve been completely wrapped up in it. It will be for others to judge if it flies as a universal epic. For me, after decades, since the early 1980s, I feel I’ve at last crossed a threshold and can look back, as it were, from earth to the moon, back at the earth from the moon, the physical manuscript on my desk proving I have made the voyage.
I have three more drafts planned which I hope to finish by the end of this year, each one working on smaller levels of detail, tying up the loose ends. And then perhaps a few more drafts for further polishing, like a cabochon stone.
Apollo's Troupe, Performing in The Underground at The Hilberry Theatre, Wayne State University, Detroit, Michigan. A story of humanity coming together in universal peace. May 17, 8:00pm; May 18, 8:00pm; May 19, 3:00pm Continue reading →
I’ll first outline in brief the experiment of the Charles Street Meeting House in Boston, from 1949 to about 1960, and sketch a little how it looks now given the life of our country and culture during the intervening fifty-five years, and then suggest the value the experiment might still hold for today. In 1964, […]
Encore Michigan Article on Apollo's Troupe. A Parliament of Poets 05/17–05/19. DETROIT—On May 17, the theater company, Apollo’s Troupe, will debut the stage-adaptation of the critically- acclaimed epic poem, The Parliament of Poets, written by Michigan poet Frederick Glaysher and published in 2012 by Earthrise Press. The show will be at the newly-renamed Underground at […]
Apollo's Troupe in The Underground at The Hilberry Theatre, Wayne State University. (Formerly Studio Theatre) May 17, 8:00pm; May 18, 8:00pm; May 19, 3:00pm Students: $15, Faculty/Staff: $23, General $28 Approximately 2 hours. 15-minute intermission. TICKETS at WSU www.WSUshows.com (Apollo's Troupe) Continue reading →
Frederick Glaysher discusses the book The World’s Parliament of Religions, 1893, and key influential speakers and groups represented at The Parliament in Chicago, including Vivekananda, Brahmo Samaj, the Unitarian Church, and the Theosophical Society. Continue reading →