Punctuated by rhyme and shaped by traditional forms, the poems in Small Pointed Things turn encounters with the natural world and scenes from family life into acts of self-discovery. Poignant and funny in equal measure, many of these poems address human concerns by comically reimagining them through the analogous 'lives' of plants and animals – from snowdrops to love-lies-bleeding, manatees to warthogs, scorpions and moths to bats and swallows. Animals and insects provide opportunities for reflection: the difference between bats and swallows unpacks the complexity of spousal relations, two down-and-out warthogs arouse sudden, if unwarranted shame, and a pair of singing blackbirds tenderly expose the secret to marital compatibility and compromise. There are also poems about poetry and ideas, lasting love and grief. Formally deft and classically inspired, with hints of Wordsworth, Frost and Marianne Moore, the poems in Small Pointed Things seek to uncover various forms of knowledge while taking aim, ultimately, at knowingness itself.
Keats mixed up Cortez and Balboa. Heaney misremembered the name of one of Wordsworth’s lakes. Poetry—even by the greats—is rife with mistakes. In The Poet’s Mistake, critic and poet Erica McAlpine gathers together for the first time numerous instances of these errors, from well-known historical gaffes to never-before-noticed grammatical incongruities, misspellings, and solecisms. But unlike the many critics and other readers who consider such errors felicitous or essential to the work itself, she makes a compelling case for calling a mistake a mistake, arguing that denying the possibility of error does a disservice to poets and their poems.
Tracing the temptation to justify poets’ errors from Aristotle through Freud, McAlpine demonstrates that the study of poetry’s mistakes is also a study of critical attitudes toward mistakes, which are usually too generous—and often at the expense of the poet’s intentions. Through remarkable close readings of Wordsworth, Keats, Browning, Clare, Dickinson, Crane, Bishop, Heaney, Ashbery, and others, The Poet’s Mistake shows that errors are an inevitable part of poetry’s making and that our responses to them reveal a great deal about our faith in poetry—and about how we read.
In this accomplished first collection, Erica McAlpine draws truths from the everyday, meditating over contingency and luck and the often-vexed relationship we have to these things. The casual register of her verse belies its formal complexity. Many of the poems are crafted in tight syntactical units of just one or two sentences; others are composed in rhyming sapphics, a meter favoured by the poet Horace, whose guiding voice recurs throughout the collection. Humorous and serious in turn, these quietly virtuosic poems achieve lofty aims: to teach, to advise, to warn — to show, in the manner of a close friend, what the world has to offer, what it sometimes takes away, and what can and should matter most.