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Riverside International Raceway is an example of a road course

Road racing is a general term for most forms of motor racing held on paved, purpose-built race tracks (i.e. "road courses"), as opposed to oval tracks and off-road racing. Temporary facilities built on paved airport runways and closed-off public roads (such as street circuits) usually are included in the definition also.

Road racing occasionally is conducted using the infield and oval portions of tracks making a "roval", such as the 24 Hours of Daytona.

Global road courses[link]

Global road-racing series such as Formula One and MotoGP almost always are conducted on dedicated race tracks, such as Spa-Francorchamps, Suzuka, Monza, and Silverstone. Recent expansion of these series has resulted in dedicated tracks being built in Qatar in the Middle East, Sepang in Malaysia, and Shanghai in China.

Road bike racing around Phillip Island

Events for many types of motorized vehicles are held at road racing tracks. Hosting a road racing tradition since 1926 at Phillip Island, Victoria, Australia, the photograph at right shows motorcycle racing at a new track, called the Phillip Island Grand Prix Circuit, which opened in 1989 with the World Motorcycle Championships.

Notable examples of temporary circuits include the Circuit de Monaco and the Guia Circuit, located on the streets of Monaco and Macau, respectively, whereas the Mille Miglia, Targa Florio, Isle of Man TT, and the Australian Formula One Grand Prix are held on public roads.

North American road courses[link]

There was a long tradition of road racing on real streets in North America. The term's definition has shifted over time, however, with the increasing dominance of Oval racing. Now the term road course often is used as a catch-all phrase for any racetrack that is not an oval, with even combined circuits (or Rovals as they are sometimes called) such as the 24-hour sports car version of Daytona being referred to as a road course. The most famous contemporary American road courses are purpose-built, but some where the original tradition evolved include: Riverside International Raceway at Riverside, California (closed since 1989), Watkins Glen International at Watkins Glen, New York, Road America at Elkhart Lake, Wisconsin, and Infineon Raceway at Sonoma, California.

History[link]

After a few decades of such events three sons of Barron Collier—Barron, Miles, and Samuel—founded the Automobile Racing Club of America in 1933. That organization became the Sports Car Club of America in 1944. Throughout its history, American race car drivers such as Briggs Cunningham, Lake Underwood, Carroll Shelby, and Mark Donohue were among the contestants at these road racing events.

The Road Racing Drivers Club was formed and invited members by nomination alone. Its presidents have been, Walt Hansgen, Dolph Vilardi, John Gorden Benett, Robert Grossman, Lake Underwood, Mark Donohue, Bob Sharp, Skip Barber, Dave Ammen, Bob Akin, Brian Redman, and Bobby Rahal.^[1]

American purpose-built road courses include: Barber Motorsports Park, Miller Motorsports Park, Mid-Ohio Sports Car Course, Lime Rock Park, Mazda Raceway Laguna Seca, Road America, Road Atlanta, Portland International Raceway, Virginia International Raceway and New Jersey Motorsports Park.

Additionally, racing over public streets is making something of a comeback; the most famous race of this sort currently held is the Long Beach Grand Prix, hosted annually in Long Beach, California. Other famous street circuits in North America include events held in Saint Petersburg, Florida, Montreal, Québec, Vancouver, British Columbia (no longer held), and Toronto, Ontario.

Airport runways figure into several part-time road courses in North America: Burke Lakefront Airport in Cleveland, Ohio hosted a Champ Car race through 2007, the Saint Petersburg course uses the runway of Albert Whitted Airport as its main straight, and Sebring International Raceway, home of the prestigious 12-hour race in March, formerly was a military airfield in Sebring, Florida. More recently, the Edmonton Indy is held on the runways of Edmonton City Centre Airport in Edmonton, Alberta.

See also[link]

• Oval track
• Roval
• Dragstrip

References[link]

Timothy Steele is an American poet and scholar. Steele generally writes in meter and rhyme, and his early poems, which began appearing in the early 1970s in such magazines as Poetry, The Southern Review, and X. J. Kennedy's Counter/Measures, are sometimes said to have anticipated and contributed to the revival of traditional verse associated with the New Formalism movement.^[1] Steele's poetry is more strictly "formal" than the work of most New Formalists in that he rarely uses inexact rhymes or metrical substitutions, and is sparing in his use of enjambment.^[2]

In addition to four collections of poems, he is the author of two books on prosody: Missing Measures, a study of the literary and historical background of modern free verse; and All the Fun's in How You Say a Thing, an introduction to English versification. Steele was an original faculty member of the West Chester University Poetry Conference, and received its Robert Fitzgerald Prosody Award in 2004.

Education[link]

Born in Burlington, Vermont in 1948, Steele attended the city's public schools. At an early age, he became interested in poetry, including that of Robert Frost, who was appointed the state's Poet Laureate in 1961, and William Shakespeare, several of whose plays were staged each summer at a Shakespeare festival at the University of Vermont in Burlington.^[3]

Steele received his baccalaureate degree in English (1970) from Stanford University and a master's (1972) and doctorate (1977) in English and American Literature from Brandeis University, where he studied with the well-known poet and Renaissance scholar J. V. Cunningham, a collected edition of whose poems Steele would later edit.^[4]

Career[link]

From 1975 to 1977, Steele served as a Jones Lecturer in poetry at Stanford. Subsequently, he held lectureships at UCLA and UC Santa Barbara. Since 1987, he has been a professor of English on the faculty of California State University, Los Angeles.^[5]

Poetry[link]

Steele's poems fuse traditional verse forms with contemporary subjects and, in Kennedy's words, "express appreciation both for the life of the mind and for the sensuous world."^[6] Writing in Library Journal, Rob Fure characterized Steele's first collection, Uncertainties and Rest (1979), as "a lovely book ... the formality of Steele's poetry is so delicate that it never intimidates." ^[7] Of his second book, Sapphics against Anger and Other Poems (1986), Kathryn Hellerstein wrote in Partisan Review, "Steele's formal range is impressive. Each poem works in a different stanza ... Their subjects, evoked in exquisite imagery, are entryways to noumena, the pure abstractions of the mind."^[8] Speaking in The Sewanee Review of The Color Wheel (1994), R. S. Gwynn said, "Timothy Steele's poetry exemplifies the order that he praises, but ultimately it is both the charity and the clarity of his vision that are most remarkable."^[9] And Booklist's Ray Olson, reviewing Toward the Winter Solstice (2006) described Steele as "so technically adroit that he could write about anything and produce a poem repeatedly rewarding for music and shapeliness alone."^[10]

Critics have pointed to Yvor Winters and Cunningham as having influenced Steele's work and have noted his particular affinity with Frost. As Donald G. Sheehy says in his essay "Measure for Measure: The Frostian Classicism of Timothy Steele": "Steele recalls Frost in his subtle mastery of form, in his philosophical and aesthetic moderation, in his sympathetic but unsentimental attention to the natural world and to the vicissitudes of love and marriage, and in the gently incisive wit with which he meets human foible, public and private."^[11]

In an interview in 1991 with the Los Angeles Times, Steele explained his goals in using traditional poetic structure: "Well-used meter and rhyme can create a sense of liveliness and a symmetry and surprise that can produce delight and pleasure for the reader ... I want to say something important. And I would hope the reader would be interested in it. But I also hope to give the reader pleasure."^[12]

[edit] Controversy about Missing Measures

In a time when free verse has been the dominant form of poetry in the United States, Steele's use and advocacy of meter have generated controversy. In particular, critics have expressed sharply divided opinions about Missing Measures: Modern Poetry and the Revolt against Meter, his study of the ideas and conditions that led many poets, in the late nineteenth and early twentieth century, to challenge poetry's traditional principles of rhythmical organization and to develop new modes of verse without the regular units of measure that had characterized earlier verse. In a review of Missing Measures in the TLS, Clive Wilmer spoke of Steele as "a considerable scholar ... moving with ease across two-and-a-half millennia of critical thought on the subject of metre" and summarized the book as "wise and engrossing."^[13] In contrast, Meg Schoerke, writing for The American Scholar, stated, "According to Steele, free verse results in a wholly subjective poetry that is divorced from human experience, solipsistic, and therefore immoral; its adherents, who refuse to abide by universal standards of judgment, persistently indulge in irrationality and illusory novelty and ... are guilty of automatic writing. Steele does not admit that free verse can lead to anything other than these vices."^[14]

Steele himself has said that he does not object to free verse but to the idea that it has superseded meter and rendered it obsolete. Though acknowledging he feels a special interest in metrical composition, he has insisted that his preference "is personal and aesthetic, however; I have never imagined that it provided me with access to cultural or spiritual virtue. And despite allegations to the contrary about Missing Measures, I have never said that vers libre is somehow wrong and immoral or that meter is somehow right and pure. The experimental school of Pound, Eliot, Lawrence, and Williams has its own beauties and achievements. But we can prize them justly and build on them, it seems to me, only if we retain a knowledge and appreciation of the time-tested principles of standard versification. Free verse cannot be free, unless there is something for it to be free of."^[15]

Less controversial is Steele's nuts-and-bolts explanation of versification, All the Fun's in How You Say a Thing, of which Robert B. Shaw said in Poetry Magazine, "Steele's choice of examples, drawn from the entire range of English-language poetry since Chaucer, indicates an impressive breadth of learning and a lively catholicity of taste ... This book defines a notably high standard for future writers in the field to emulate."^[16]

Influence[link]

Despite controversies about Steele's advocacy of meter, observers seem to agree that his work has influenced the development of recent American verse. Joseph O. Aimone noted in 2003 in The Dictionary of Literary Biography, "Readers of poetry with a feel for formal verse can already find an interesting and gratifying wealth of invention in Steele's three volumes of poems. Those who care for explanations of versification and poetic history will find his two volumes of prose useful and readable. Those arbiters of and reporters on shifting tastes will have to take him as a reference point to orient any serious discussion of the renascent strains of traditional verse in American poetry."^[17] And Susan Clair Imbarrato commented in 2006, in The Greenwood Encyclopedia of American Poets and Poetry, that Steele's "use of traditional forms and precise, accessible language has repositioned formal prosody into the rich palette of contemporary poetry."^[18]

Selected work[link]

April 27, 1937

General Ludendorff, two years before,

Had pushed the concept in his Total War,

And so it seemed a perfect time to see

If one could undermine an enemy

By striking its civilian population.

This proved a most effective innovation,

As the defenseless ancient Basque town learned:

Three-quarters of its buildings bombed and burned,

Its children and young wives were blown to bits

Or gunned down, when they fled, by Messerschmitts.

Shocked condemnations poured forth from the press,

But Franco triumphed; and, buoyed by success,

The Luftwaffe would similarly slam

Warsaw and Coventry and Rotterdam.

Berlin cheered these developments; but two

Can play such games—and usually do—

No matter how repellent or how bloody.

And Churchill was, as always, a quick study

And would adopt the tactic as his own,

Sending the RAF to blitz Cologne.

Devising better ways to carpet-bomb

(Which later were employed in Vietnam),

The Allies, in a show of aerial might,

Incinerated Dresden in a night

That left the good and evil to their fates,

While back in the untorched United States

Others approved an even darker plan

To coax a prompt surrender from Japan.

That day in Spain has taught us, to our cost,

That there are lines that never should be crossed;

The ignorance of leaders is not bliss

If they’re intent on tempting Nemesis.

Each day we rise, and each day life goes on:

An author signs beneath a colophon;

Trucks carry freight through waves of desert heat;

A bat cracks, a crowd rises to its feet;

Huge jets lift to the sky, and, higher yet,

Float satellites that serve the Internet.

But still, despite our cleverness and love,

Regardless of the past, regardless of

The future on which all our hopes are pinned,

We’ll reap the whirlwind, who have sown the wind.^[19]

Awards[link]

• Wallace Stegner Fellowship in Creative Writing, Stanford University, 1972-73
• Guggenheim Fellowship, 1984-85
• Peter I. B. Lavan Younger Poets Award from the Academy of American Poets, 1986
• Finalist, National Book Critics Circle Award for Poetry, 1986 (for Sapphics against Anger and Other Poems)
• Commonwealth Club of California Medal for Poetry, 1986 (for Sapphics against Anger and Other Poems)
• Los Angeles PEN Center’s Literary Award for Poetry, 1987 (for Sapphics against Anger and Other Poems)
• California Arts Council Grant, 1993
• Robert Fitzgerald Prosody Award, 2004

Bibliography[link]

Poetry

• Uncertainties and Rest (LSU Press, 1979)
• Sapphics against Anger and Other Poems (Random House, 1986)
• The Color Wheel (Johns Hopkins University Press, 1994)
• Sapphics and Uncertainties (University of Arkansas Press, 1995) This volume reprints, in slightly revised form, Steele's first two collections.
• Toward the Winter Solstice (Ohio University Press/Swallow Press, 2006)

Non-fiction

• Missing Measures: Modern Poetry and the Revolt against Meter (University of Arkansas Press, 1990)
• All the Fun's in How You Say a Thing: An Explanation of Meter and Versification (Ohio University Press/Swallow Press, 1999)
• Three Poets in Conversation: Dick Davis, Rachel Hadas, Timothy Steele (Between the Lines, 2006)

Edited

• The Music of His History: Poems for Charles Gullans on His Sixtieth Birthday (Robert L. Barth Press, 1989)
• The Poems of J. V. Cunningham (Ohio University Press/Swallow Press, 1997)

External links[link]

• Home page
• Timothy Steele at the Academy of American Poets
• Interview by Cynthia L. Haven in Cortland Review, June 2000
• Interview by Kevin Durkin

References[link]