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The first English-language study of the German author and critic Hans Magnus Enzensberger.
Focusing on Second Generation New York School poetry from 1960 to the present day, this volume explores the poets who lived and wrote from or about New York, the forms of their poems, and the a relationship between the structures they inhabited and the structures they created.
In the venerable tradition of caregivers writing about the healing arts?a tradition peopled by the likes of Anton Chekhov, Walt Whitman, William Carlos Williams, Walker Percy, and Denise Levertov?Cortney Davis brings to poetry the experience, insight, and compassion of a nurse practitioner who daily confronts the unexpected frailties, passions, and power of the flesh. Taking the body as her text, Davis crafts her poetry from the pains of labor and the joys of birth, the depredations of disease and the sustaining hope of recovery. She trains her clear, unflinching gaze on the unfolding scene?a woman shipwrecked with a stranger; an adult reinventing childhood; an ill woman rediscovering pleasure in her body; a nurse realizing, in one harrowing instant, that she is as vulnerable as her patients?unerringly finding the particular image, the human detail, that connects reader, writer, and subject with the world. Primal, compelling, intelligent, these poems show us how to see as clearly as the poet does, with empathy and grace.
A collection of playfully elucidating essays to help reluctant poetry readers become well-versed in verse Developed from Adam Sol’s popular blog, How a Poem Moves is a collection of 35 short essays that walks readers through an array of contemporary poems. Sol is a dynamic teacher, and in these essays, he has captured the humor and engaging intelligence for which he is known in the classroom. With a breezy style, Sol delivers essays that are perfect for a quick read or to be grouped together as a curriculum. Though How a Poem Moves is not a textbook, it demonstrates poetry’s range and pleasures through encounters with individual poems that span traditions, techniques, and ambitions. This illuminating book is for readers who are afraid they “don’t get” poetry but who believe that, with a welcoming guide, they might conquer their fear and cultivate a new appreciation.
Donahue presents Krolow's career from a wholly new perspective, presenting in sum, but overturning, decades of Krolow criticism that, begun on a false footing, missed the real historical depth in Krolow's poems: the depth of avoidance."--BOOK JACKET.
The role of the poet, Mary Kinzie writes, is to engage the most profound subjects with the utmost in expressive clarity. The role of the critic is to follow the poet, word for word, into the arena where the creative struggle occurs. How this mutual purpose is served, ideally and practically, is the subject of this bracingly polemical collection of essays. A distinguished poet and critic, Kinzie assesses poetry's situation during the past twenty-five years. Ours, she contends, is literally a prosaic age, not only in the popularity of prose genres but in the resultant compromises with truth and elegance in literature. In essays on "the rhapsodic fallacy," confessionalism, and the romance of perceptual response, Kinzie diagnoses some of the trends that diminish the poet's flexibility. Conversely, she also considers individual poets—Randall Jarrell, Elizabeth Bishop, Howard Nemerov, Seamus Heaney, and John Ashbery—who have found ingenious ways of averting the risks of prosaism and preserving the special character of poetry. Focusing on poet Louise Bogan and novelist J. M. Coetzee, Kinzie identifies a crucial and curative overlap between the practices of great prose-writing and great poetry. In conclusion, she suggests a new approach for teaching writers of poetry and fiction. Forcefully argued, these essays will be widely read and debated among critics and poets alike.
This book offers new insights into the twelfth-century Persian poet Nezami Ganjavi. Challenging the dominant interpretation of Nezami’s poetry as the product of mysticism or Islam, this book explores Nezami’s literary techniques such as his pictorial allegory and his profound conceptualization of poetry, rhetoric, and eloquence. It employs several theoretical and methodological approaches to clarify the nature of his artistic approach to poetry. Chapters explore Nezami’s understanding of rhetoric and literature as Sakhon, his interest in literary genres, the diversity of themes explored in his Five Treasures, the sources of Nezami’s creativity, and his literary devices. Exploring themes such as love, religion, science, wine, gender, and philosophy, this study compares Nezami’s works to other giants of Persian poetry such as Ferdowsi, Jami, Rudaki, and others. The book argues that Nezami’s main concern was to weave poetry rather than to promote any specific ideology.
"The bringing of Spanish seventeenth-century verse plays to the contemporary English-speaking stage involves a number of fundamental questions. Are verse translations preferable to prose, and if so, what kind of verse? To what degree should translations aim to be 'faithful'? Which kinds of plays 'work', and which do not? Which values and customs of the past present no difficulties for contemporary audiences, and which need to be decoded in performance?Which kinds of staging are suitable, and which are not? To what degree, if any, should one aim for 'authenticity' in staging? In this volume, a group of translators, directors, and scholars explores these and related questions."--Jacket
What is postmodern literary subjectivity? How to talk about it without falling in the trap of negative hyper-essentialism or being seduced by exuberant lit speak? One way out of this dilemma, as this book suggests, is via a redefinition of the concept in the context of Emmanuel Levinas and his radical ethics. By defining subjectivity as an ethically charged act of language, Levinas provides a fresh perspective on the often trivialized aspects of postmodern poetics such as referentiality and affect construction strategies. The foregrounding of the ethical dimension of those poetic elements has far-reaching consequences for how we read postmodern texts and understand postmodernism in general. Thus, to prove the benefits of the Levinasian approach, the author applies it to the work of the canonical American postmodernist, Donald Barthelme, and explains the distinctly ethical character of his apparently surfictional experiments.
Structure & Surprise: Engaging Poetic Turns offers a road map for analyzing poetry through examination of poems' structure, rather than their forms or genres. Michael Theune's breakthrough concept encourages students, teachers, and writers to use structure as a tool to see the fundamental affinities between strikingly different kinds of poetry and radically different literary eras. The book includes examination of the mid-course turn and the elegy, as well as the ironic, concessional, emblem, and retrospective-prospective structures, among others. In addition, 14 contemporary poets provide an example of and commentary on their own work.