P
oetry speaks through two, simultaneous grammars, one of English syntax and one of verse’s rhythms, sounds, and lineation. In doing so, it is able to afford both the experience of theological intellection and the experience of living out theology—of human practice, flourishing, and cost: Auden’s smile and Eliot’s pain. In their work, these two theological experiences overlap as the two grammars of poetry do
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