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A Study Guide for Robert Creeley's "Fading Light," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
A Study Guide for Robert Creeley's "Fading Light," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
A Study Guide for Robert Bly's "Come with Me," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
First published in 1947, this acknowledged classic of American literary criticism explores the influences—especially Shakespearean ones—on Melville’s writing of Moby-Dick. One of the first Melvilleans to advance what has since become known as the “theory of the two Moby-Dicks,” Olson argues that there were two versions of Moby-Dick, and that Melville’s reading King Lear for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: “the first book did not contain Ahab,” writes Olson, and “it may not, except incidentally, have contained Moby-Dick.” If literary critics and reviewers at the time responded with varying degrees of skepticism to the “theory of the two Moby-Dicks,” it was the experimental style and organization of the book that generated the most controversy. Passionate in his poetry, Olson was no less passionate in his reading of Melville. Impatient with what he regarded as traditional forms of literary criticism, Olson engaged his own creativity to write a book as robust, original, and compelling as Melville’s masterpiece. “Not only important, but apocalyptic.”—New York Herald Tribune “One of the most stimulating essays ever written on Moby-Dick, and for that matter on any piece of literature, and the forces behind it.”—San Francisco Chronicle “Olson has been a tireless student of Melville and every Melville lover owes him a debt for his Scotland Yard pertinacity in getting on the trail of Melville’s dispersed library.”—Lewis Mumford, New York Times “Records, often brilliantly, one way of taking the most extraordinary of American books.”—W. E. Bezanson, New England Quarterly “The most important contribution to Melville criticism since Raymond Weaver’s pioneering contribution in 1921.”—George Mayberry, New Republic
This long-awaited collection of Blaisdell's critical writings includes essays on literature, art, and film, along with moving tributes by some of the distinguished writers who numbered Blaisdell among their friends.
Redefines the great canon of American poetry from its origins in the 17th century right up to the present.
Sales have tripled for The Best American Poetry since the debut volume in 1988. And what has become a "must for poetry lovers" (Tampa Tribune-News), should stir even more excitement with Robert Bly as this year's guest editor. An award winning poet and translator -- famous, too, for his leadership role in the men's movement and his bestselling book, Iron John -- Bly offers a fresh perspective on American poetry. Bly has chosen the seventy-five best poems of the year from a host of contenders culled from a wide range of literary magazines and journals. He has selected the work of celebrated poets John Ashbery, Anne Carson, Henri Cole, Louise Gluck, Phillip Levine, and Richard Wilbur, as well as poems from innovative newcomers. With comments from the poets elucidating their work, and with a Foreword by Series Editor David Lehman, The Best American Poetry 1999 is a stunning addition to the series People magazine called, "a year's worth of the very best."
“In the fall of 1970, at the New School in Greenwich Village, a new teacher posted a flyer on the wall,” begins Alexander Neubauer’s introduction to this remarkable book. “It read ‘Meet Poets and Poetry, with Pearl London and Guests.’” Few students responded. No one knew Pearl London, the daughter of M. Lincoln Schuster, cofounder of Simon & Schuster. But the seminar’s first guests turned out to be John Ashbery, Adrienne Rich, and Robert Creely. Soon W. S. Merwin followed, then Mark Strand and Galway Kinnell. London invited poets to bring their drafts to class, to discuss their work in progress and the details of vision and revision that brought a poem to its final version. From Maxine Kumin in 1973 to Eamon Grennan in 1996, including Amy Clampitt, Marilyn Hacker, Paul Muldoon, Nobel laureate Derek Walcott, and U.S. poet laureates Robert Hass, Robert Pinsky, Louise Glück, and Charles Simic, the book follows an extraordinary range of poets as they create their poems and offers numerous illustrations of the original drafts, which bring their processes to light. With James Merrill, London discusses autobiography and subterfuge; with Galway Kinnell, his influential notion that the new nature poem must include the city and not exclude man; with June Jordan, “Poem in Honor of South African Women” and the question of political poetry and its uses. Published here for the first time, the conversations are intimate, funny, irreverent, and deeply revealing. Many of the drafts under discussion—Robert Hass’s “Meditation at Lagunitas,” Edward Hirsch’s “Wild Gratitude,” Robert Pinsky’s “The Want Bone”—turned into seminal works in the poets’ careers. There has never been a gathering like Poetry in Person, which brings us a wealth of understanding and unparalleled access to poets and their drafts, unraveling how a great poem is actually made.