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The Politics of Speech in Later Twentieth-Century Poetry: Local Tongues in Heaney, Brooks, Harrison, and Clifton argues that local speech became a central facet of English-language poetry in the second half of the twentieth century. It is based on a key observation about four major poets from both sides of the Atlantic: Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton all respond to societal crises by arranging, reproducing, and reconceiving their particular versions of local speech in poetic form. The book’s overarching claim is that “local tongues” in poetry have the capacity to bridge aesthetic and sociopolitical realms because nonstandard local speech declares its distinction from the status quo and binds people who have been subordinated by hierarchical social conditions, while harnessing those versions of speech into poetic structures can actively counter the very hierarchies that would degrade those languages. The diverse local tongues of these four poets marshaled into the forms of poetry situate them at once in literary tradition, in local contexts, and in prevailing social constructs.
"Steven Withrow is the new face of children's poetry in America, but the formalist poems of his 'Crackles of Speech' are nothing of the kind. Rather, they are the compressed bliss of poetry writ large, built of masterful metrics, wonderfully inventive metaphors, and uninhibited diction"--back cover.
Capture the joys of reading in this amazing poetry collection! From that thrilling moment when a child first learns to decipher words, to the excitement that follows in reading everything from road signs to field guides to internet articles to stories, these poems celebrate reading. They also explore what reading does -- how it opens minds, can make you kind, and allows you to explore the whole world. Ryan O’Rourke’s rich artwork beautifully captures the imagination and playfulness in these poems by noted author Amy Ludwig VanDerwater.
Flashlight Night is an ode to the power of imagination and the wonder of books. Three children use a flashlight to light a path around their backyard at night; in the flashlight’s beam another world looms. Our heroes encounter spooky woods, a fearsome tiger, a time-forgotten tomb, an Egyptian god, a sword-fighting pirate, and a giant squid. With ingenuity, they vanquish all, then return to their tree house—braver, closer, and wiser than before—to read the books that inspired their adventure.
This pioneering book introduces students to the practice and art of creative writing and creative reading. It offers a fresh, distinctive and beautifully written synthesis of the discipline. David Morley discusses where creative writing comes from, the various forms and camouflages it has taken, and why we teach and learn the arts of fiction, poetry and creative nonfiction. He looks at creative writing in performance; as public art, as visual art, as e-literature and as an act of community. As a leading poet, critic and award-winning teacher of the subject, Morley finds new engagements for creative writing in the creative academy and within science. Accessible, entertaining and groundbreaking, The Cambridge Introduction to Creative Writing is not only a useful textbook for students and teachers of writing, but also an inspiring read in its own right. Aspiring authors and teachers of writing will find much to discover and enjoy.
This book scrutinizes Heaney's language in order to examine his theory of poetry and the writer's responsibility to art and politics. The author, himself a poet, works chronologically through the poetry and discusses it in light of Heaney's writings on the appropriate language of poetry. Chapters also look at Heaney's language and at the government of the tongue.
Poetry has long been thought of as a genre devoted to grand subjects, timeless themes, and sublime beauty. Why, then, have contemporary poets turned with such intensity to documenting and capturing the everyday and mundane? Drawing on insights about the nature of everyday life from philosophy, history, and critical theory, Andrew Epstein traces the modern history of this preoccupation and considers why it is so much with us today. Attention Equals Life argues that a potent hunger for everyday life explodes in the post-1945 period as a reaction to the rapid, unsettling transformations of this epoch, which have resulted in a culture of perilous distraction. Epstein demonstrates that poetry is an important, and perhaps unlikely, cultural form that has mounted a response, and even a mode of resistance, to a culture suffering from an acute crisis of attention. In this timely and engaging study, Epstein examines why a compulsion to represent the everyday becomes predominant in the decades after modernism and why it has so often sparked genre-bending formal experimentation. With chapters devoted to illuminating readings of a diverse group of writers--including poets associated with influential movements like the New York School, language poetry, and conceptual writing--the book considers the variety of forms contemporary poetry of everyday life has taken, and analyzes how gender, race, and political forces all profoundly inflect the experience and the representation of the quotidian. By exploring the rise of experimental realism as a poetic mode and the turn to rule-governed "everyday-life projects," Attention Equals Life offers a new way of understanding a vital strain at the heart of twentieth- and twenty-first century literature. It not only charts the evolution of a significant concept in cultural theory and poetry, but also reminds readers that the quest to pay attention to the everyday within today's frenetic world of smartphones and social media is an urgent and unending task.
Seventeen interviews with George and Mary Oppen, conducted between 1968 and 1987, are here brought together for the first time. Two are fresh discoveries, while re-audited recordings of other interviews have given a new authoritative accuracy to the text. These conversations provide a unique account of a major American poet's evolution, through the Depression, war, exile and a return to poetry after two decades of silence. They span Oppen's early years as an Objectivist, his assessments of such as Ezra Pound and William Carlos Williams, and his views on the merits of his later contemporaries Allen Ginsberg, Jerome Rothenburg and others. Above all, it is Oppen's detailed commentary on his own writing, and his explanations of how individual poems unfold, which gives special importance to these new collected interviews.