Attract, tempt, and seduce
Robert Stevick has said that "Robinson's poetry deserves the attention it does not contrive to attract" (Barnard, Centenary Essays<span>, 66). To introduce Robinson's subtlety, read the poems out loud and more than once. Robinson once told a reader who confessed to being confused about his poetry that he should read the poems one word at a time. Robinson was very sensitive to the sound of words and complained of not liking his name because it sounded like a tin can being kicked down the stairs. He also said that poetry must be music. This musical quality is best perceived by reading his poetry aloud.</span><span />
Answer:
True.
Explanation:
Non-fiction means to have facts, that it can be proven true.
Literature and the Holocaust have a complicated relationship. This isn't to say, of course, that the pairing isn't a fruitful one—the Holocaust has influenced, if not defined, nearly every Jewish writer since, from Saul Bellow to Jonathan Safran Foer, and many non-Jews besides, like W.G. Sebald and Jorge Semprun. Still, literature qua art—innately concerned with representation and appropriation—seemingly stands opposed to the immutability of the Holocaust and our oversized obligations to its memory. Good literature makes artistic demands, flexes and contorts narratives, resists limpid morality, compromises reality's details. Regarding the Holocaust, this seems unconscionable, even blasphemous. The horrors of Auschwitz and Buchenwald need no artistic amplification.
