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This interview delves into Russell Leong's complex coming-of-age as a Chinese American poet, influenced by US–Sino relations, the notorious Joseph McCarthy anti-Red and anti-China era of the 1950s, and the local status of being a person and writer of colour in a post-World War Two America during the past 70 years. The interview explores why Leong considers himself to be more a "man in a blue T-shirt" than a diasporic colonial in exile; how scholars in China view Chinese Americans, and Leong's response in terms of his life, identity, and poetry; the relation between theory and practice in Leong's work; how Chinese American works as "diasporic"; whether he was "orientalized" by studying Asian Americans; how he would characterize his own work; and how, as a fellow poet, Hart sees Leong's work as a poet and visual artist. The interview ends with Hart's "Musings on the Interview" and his sample close reading. [ABSTRACT FROM AUTHOR]

C . Day Lewis said of The Wounded Prince ( 1948) that Douglas LePan was a poet "in whom the New and the Old World have met." Like the other New World/Old World or Atlantic world poets, such as T.S. Eliot and W.H. Auden, LePan represents the individual in nature and the modern world. The other transatlantic poets had a United States-Britain axis, whereas LePan had a CanadaBritain connection. LePan and poets like him deserve study as part of a diversity of voices from smaller literatures, for the sound of beauty and not the noise of fame. During LePan's life, others knew of his accomplishments, but since his death, still others may have forgotten what Northrop Frye and Margaret Atwood knew - that LePan's poetry warranted close and considered attention. Before a close reading of some of his most lyrical poems, I provide a context, the critical reception of LePan as a poet, particularly in the years from 1948 to 1987, and some germane discussions of LePan's poetry in subsequent years. [ABSTRACT FROM AUTHOR]

The article is about theory and practice in Shakespeare, but while he used the word "practice," he never employed the term "theory." After discussing practice a little, I shall examine how Shakespeare refers to poetry and poets, philosophy and philosophers with some brief connections with art, theatre, music, painting and mimesis. Shakespeare showed no inclination for criticism or theory in essays or non-fiction prose, but, as can be seen, for instance, in Hamlet's instructions to the players, his work, poetry and plays, contain if not a theory of art, theatre and poetry at least some representations of and reflections on such matters by speakers, narrators and characters. [ABSTRACT FROM AUTHOR]