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Robert Duncan (1919-1988), one of the major postwar American poets, was an adulated figure among his contemporaries, including Robert Creeley, Charles Olson, and Denise Levertov. Lawrence Ferlinghetti remarked that Duncan "had the best ear this side of Dante." His stature is increasingly recognized as comparable to that of Ezra Pound, William Carlos Williams, H.D., and Louis Zukofsky. Like his poetry, Duncan's conversation is generative and multi-directional, pushing out the boundaries of discourse. His recorded reflections are a means of discovery and exploration, and whether talking with a college student or a fellow poet, he was fully engaged and open to new thoughts as they emerged. The exchanges in this book are exciting and lively. His vast and wide-ranging knowledge offers readers an increased understanding of the interrelations of the arts, history, psychology, and science; those who would like to learn about Duncan's own life, his bravery in being an out gay man well before Stonewall, and his friendships with fellow writers, such as Charles Olson, Jack Spicer, and Kenneth Rexroth, will find this book richly rewarding. The six volumes of Duncan's collected writings are being issued by the University of California Press. The collected interviews are an indispensable companion to these books, providing an in-depth exposition of his poetics, which center on the belief that the poem is "a medium for the life of the spirit." In A Poet's Mind, he describes the genesis of some of his works, including that of books, essays, and individual poems, and also discusses gay love and life, along with the many diverse influences on his work. Ducan's fertile creative mind is also evident in these conversations: often coming back to Ezra Pound in these conversations, he gives one of the clearest expositions to be found anywhere on the scope and meaning of The Cantos. This volume also includes a number of photographs never before published.
How did the human mind evolve and how does it emerge, again and again, in individual lives? In The Poet’s Voice in the Making of Mind, Russell Meares presents a fascinating inquiry into the origin of mind. He proposes that the way in which mind, or self, evolved, may resemble the way it emerges in childhood play and that a poetic, analogical style of thought is a biological necessity, essential to bringing to fruition the achievement of the human mind. Taking a fresh look at the language used in psychotherapy, he shows how language, and conversation in particular, is central to the development and maintenance of self. His theory incorporates the ideas from William James, Hughlings, Jackson, Janet, Hobson, Gerald Edelman, Wolf Singer, Vygotsky and others. It is illuminated by extracts from literary artists such as Wallace Stevens, W.S. Merwin, Virginia Woolf, Joseph Conrad and Shakespeare. Encompassing psychotherapy; psychoanalysis; evolution; child development; literary criticism; philosophy; studies of mind and consciousness, The Poet’s Voice in the Making of Mind is an engaging, ground-breaking and thought-provoking work that will appeal to psychotherapists and psychoanalysts, as well as anyone interested in the emergence of mind and self.
In the deeply personal Decade of the Brain, Janine Joseph writes of a newly-naturalized American citizen who suffers from post-concussive memory loss after a major auto accident. The collection is an odyssey of what it means to recover—physically and mentally—in the aftermath of trauma and traumatic brain injury, charting when “before” crosses into “after.” Through connected poems, buckling and expansive syntax, ekphrasis, and conjoined poetic forms, Decade of the Brain remembers and misremembers hospital visits, violence and bodily injury, intimate memories, immigration status, family members, and the self. After the accident I turned out all of the lights in the room while I watched, concussed, from the mirror. I edged like a fever with nothing on the tip of my tongue.
The Poet's Mind is a major study of how Victorian poets thought and wrote about the human mind. It argues that Victorian poets, inheriting from their Romantic forerunners the belief that subjective thoughts and feelings were the most important materials for poetry, used their writing both to give expression to mental processes and to scrutinise and analyse those processes. In this volume Gregory Tate considers why and how psychological analysis became an increasingly important element of poetic theory and practice in the mid-nineteenth century, a time when the discipline of psychology was emerging alongside the growing recognition that the workings of the mind might be understood using the analytical methods of science. The writings of Victorian poets often show an awareness of this psychology, but, at the same time, the language and tone of their psychological verse, and especially their ambivalent use of terms such as 'brain', 'mind', and 'soul', voice an unresolved tension, felt throughout Victorian culture, between scientific theories of psychology and metaphysical or religious accounts of selfhood. The Poet's Mind considers the poetry of Browning, Tennyson, Arnold, Clough, and George Eliot, offering detailed readings of several major Victorian poems, and presenting new evidence of their authors' interest in contemporary psychological theory. Ranging across lyric verse, epic poetry, and the dramatic monologue, the book explores the ways in which poetry simultaneously drew on, resisted, and contributed to the spread of scientific theories of mind in Victorian Britain.
Explains the creative process needed to produce a poem
An examination of metaphor in poetry as a microcosm of the human imagination—a way to understand the mechanisms of creativity. In The Spider's Thread, Keith Holyoak looks at metaphor as a microcosm of the creative imagination. Holyoak, a psychologist and poet, draws on the perspectives of thinkers from the humanities—poets, philosophers, and critics—and from the sciences—psychologists, neuroscientists, linguists, and computer scientists. He begins each chapter with a poem—by poets including Samuel Taylor Coleridge, Sylvia Plath, Walt Whitman, Emily Dickinson, Robert Frost, Theodore Roethke, Du Fu, William Butler Yeats, and Pablo Neruda—and then widens the discussion to broader notions of metaphor and mind. Holyoak uses Whitman's poem “A Noiseless Patient Spider” to illustrate the process of interpreting a poem, and explains the relevance of two psychological mechanisms, analogy and conceptual combination, to metaphor. He outlines ideas first sketched by Coleridge—who called poetry “the best words in their best order”—and links them to modern research on the interplay between cognition and emotion, controlled and associative thinking, memory and creativity. Building on Emily Dickinson's declaration “the brain is wider than the sky,” Holyoak suggests that the control and default networks in the brain may combine to support creativity. He also considers, among other things, the interplay of sound and meaning in poetry; symbolism in the work of Yeats, Jung, and others; indirect communication in poems; the mixture of active and passive processes in creativity; and whether artificial intelligence could ever achieve poetic authenticity. Guided by Holyoak, we can begin to trace the outlines of creativity through the mechanisms of metaphor.
You Don’t Know My Journey I’ve had choices in my life that I had to make, some that didn’t work in my favor, but I never considered them as bad ones, I just took them as a loss and moved on. While going through my journey, it moved slowly and I had to learn patience. I’ve always wanted to do something important, but I knew there were challenges and big steps for acceptance, I started to notice the mouths that would speak around me and had to read the lips that sour the taste of judging words. So I've learned how to block out the negativity. In order to make it work I made some adjustments. My journey started when I first went through something, continuing on was the beginning of my phase. I realized that we make life hard by worrying so much instead of focusing on how to sort a situation. I write my thoughts down when they are strong, not that I would forget, but because they will be useful later. Going through a journey is never an ending because a journey is a lifetime.
The Prelude, Wordsworth's great autobiographical poem, is crucial to our understanding of his life and poetry. This epic work covers the experiences of Wordsworth's boyhood and his poetic development; his debt to literature; the awakening of his passionate interest in man; his hopes and despair for the French Revolution; his life in London and in the country, the highs and lows of his career; his relationship with his sister Dorothy and his friendship with Coleridge. Through The Prelude Wordsworth was at last free to devote his life to its true vocation and to record his gratitude for the gift which brought him that freedom. Written between 1798 and 1805, it was first published posthumously in 1850 after intensive revision in Wordsworth's later years. This volume contains the original 1805 text edited from manuscripts with a comprehensive introduction and notes.