Tuesday, June 19, 2012

The Benford Plagiarism Dossier 20

Had a BRILLIANT find just now.

Yet another plagiarisation discovered.

This one threw me for a while.

In Joanne Benford's "Coming Up for Air" is a poem called St Paul's beginning:

It is the top which seems...

I couldn't find it anywhere but felt it had to be ripped off.

Then a search suggested it was in a really heavy medical paper.

Yer what?

Principles of Medical Statistics by Alvin R Feinstein MD

Well how on earth is a poem about St Paul's going to be in a medical tract full of mathematics?

Answer, surely it has to be a web-glitch?

So I managed togfind a PDF, and downloaded it and then searched
for "unteared" (a word in her suspect poem) and BINGO!

Near the end was an image shaped like a bell, but the image was
made up of words, themselves a poem about a bell

It is the
top which
seems to an
eye untorn by tears a
kind of base not from but
on which the whole sounding
body depends Up high the most
frequent the most ordinary will
bunch together there where mean
and mode unite At such a height a
tired watcher of bells might hope
for far more sound for rounder or
rarer tones 0 even there at the top
for bright clear fundamentals where
most normal noises are not of chiming
but of clonk and thunk But no for the
sound of ringing is only found in the
massed metal below down there where all
frequencies of bong bing and happenings
are lower There where the bronzed embrace
surrounds the heart of air the body sounder
and the deep pounding partials far more tidal
there at the widening there there the true bell
sings all ringed about with bell-shaped roundness
Whatever the pinched arch top may assert these wide
so generous depths affirm nothing and thereby never lie
Here at bell-level nearly at the lip of truth even a sigh
will resound and trembling will be a proclamation The sound
of an hour passing is that of another coming Unskewed by will
or cracked by what in fact the case may be in the surrounding
air and
all it is
ringing 0
hear it

By John Hollander

John Hollander’s poetic portrait of “Bell curve: normal curve of distribution.” Text on the left contains further description of this type of “emblematic meditation.” [Figure and text derived from Chapter Reference 11.]

Dr Joanne Benford's "poem" (ie her plagiarisation)
gets rid of the bell shape and is presented standard-format

For those not familiar

John Hollander (born October 28, 1929 in New York City) is a Jewish-American poet and literary critic.[1] As of 2007, he is Sterling Professor Emeritus of English at Yale University. Previously he taught at Connecticut College, Hunter College, and the Graduate Center, CUNY.


John Hollander

John Hollander was born in New York City on October 28, 1929.

He attended Columbia and Indiana Universities and was a Junior Fellow of the Society of Fellows of Harvard University.

He is the author of more than a dozen volumes of poetry, including Picture Window (Alfred A. Knopf, 2003), Figurehead: And Other Poems (1999), Tesserae (1993), Selected Poetry (1993), Harp Lake (1988), Powers of Thirteen (1983), Spectral Emanations (1978), Types of Shape (1969), and A Crackling of Thorns (1958), which was chosen by W. H. Auden for the Yale Series of Younger Poets.

His seven books of criticism include: The Work of Poetry (1997), Melodious Guile (1988), The Figure of Echo (1981), Rhyme's Reason (1981), Vision and Resonance (1975), Images of Voice (1970), and The Untuning of the Sky (1961)

He has edited numerous books, among them Committed to Memory: 100 Best Poems to Memorize (The Academy of American Poets and Books & Co./Turtle Point Press, 1996); The Gazer's Spirit (1995); Poems Bewitched and Haunted (2005); Animal Poems (1994); The Library of America's two-volume anthology Nineteenth Century American Poetry (1993); The Essential Rossetti (1990); Poems of Our Moment (1968); Selected Poems of Ben Jonson (1961); and The Wind and the Rain: An Anthology of Poems for Young People (with Harold Bloom, 1961). He was co-editor of The Oxford Anthology of English Literature (1973) and Jiggery-Pokery: A Compendium of Double Dactyls (with Anthony Hecht, 1967).

He has also written books for children and has collaborated on operatic and lyric works with such composers as Milton Babbitt, George Perle, and Hugo Weisgall.

About his early work, the critic Harold Bloom said, "Hollander's expressive range and direct emotional power attain triumphant expression. I am moved to claim for these poems a vital place in that new Expressionistic mode that begins to sound like the poetry of the Seventies that matters, and that will survive us."

Hollander's many honors include the Bollingen Prize, the Levinson Prize, and the MLA Shaughnessy Medal, as well as fellowships from the Guggenheim Foundation, the MacArthur Foundation, and the National Endowment for the Arts.

A former Chancellor of the Academy of American Poets and the current poet laureate of Connecticut, he has taught at Connecticut College, Hunter College, the CUNY Graduate Center, and Yale, where is currently the Sterling Professor emeritus of English.


It's hard work as Benford is sneaky, but each time I search
I find another story or poem turns out not to be hers

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