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A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation. Elizabeth Alexander is considered one of the country's most gifted contemporary poets, and the publication of her essays in The Black Interior in 2004 established her as an astute critic and cultural commentator as well. Arnold Rampersad has called Alexander "one of the brightest stars in our literary sky . . . a superb, invaluable commentator on the American scene." In this new collection of her essays, reviews, and interviews, Alexander again focuses on African American artistic production, particularly poetry, and the cultural contexts in which it is created and experienced. The book's first section, "Black Arts 101," takes up the poetry of Paul Laurence Dunbar, Sterling Brown, Lucille Clifton, Gwendolyn Brooks, and Rita Dove (among others); artist Romare Bearden; dancer Bill T. Jones; and dramatist August Wilson. A second section, "Black Feminist Thinking," provides engaging meditations ranging from "My Grandmother's Hair" and "A Very Short History of Black Women and Food" to essays on the legacies of Toni Cade, Audre Lorde, and June Jordan. The collection's final section, "Talking," includes interviews, a commencement address---"Black Graduation"---and the essay "Africa and the World." Elizabeth Alexander received a B.A. from Yale University, an M.A. from Boston University, and a Ph.D. in English from the University of Pennsylvania. She has published four books of poems: The Venus Hottentot (1990); Body of Life (1996); Antebellum Dream Book (2001); and, most recently, American Sublime (2005), which was one of three finalists for the Pulitzer Prize. Her play, Diva Studies, was produced at the Yale School of Drama. She is presently Professor of American and African American Studies at Yale University.
Questions of Possibility examines the particular forms that contemporary American poets favor and those they neglect. The poets' choices reveal both their ambitions and their limitations, the new possibilities they discover and the traditions they find unimaginable. By means of close attention to the sestina, ghazal, love sonnet, ballad, and heroic couplet, this study advances a new understanding of contemporary American poetry. Rather than pitting "closed" verse against "open" and "traditional" poetry against "experimental," Questions of Possibility explores how poets associated with different movements inspire and inform each other's work. Discussing a range of authors, from Charles Bernstein, Derek Walcott, and Marilyn Hacker to Agha Shahid Ali, David Caplan treats these poets as contemporaries who share the language, not as partisans assigned to rival camps. The most interesting contemporary poetry crosses the boundaries that literary criticism draws, synthesizing diverse influences and establishing surprising affinities. In a series of lively readings, Caplan charts the diverse characteristics and accomplishments of modern poetry, from the gay and lesbian love sonnet to the currently popular sestina.
"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--
Enter The Realm of Possibility and meet a boy whose girlfriend is in love with Holden Caulfield; a girl who loves the boy who wears all black; two boys pondering their first anniversary; and a girl who writes love songs for a girl she can’t have. These are just a few of the captivating characters readers will get to know in this intensely heartfelt new novel about those ever changing moments of love and heartbreak that go hand-in-hand with high school. David Levithan plumbs the depths of teenage emotion to create an amazing array of voices. So, enter their intricately interconnected lives and prepare to welcome the realm of possibility open to us all.
Dwelling in Possibility cuts across conventional boundaries between critical and creative writing by featuring the work of both women poets and feminist critics as they explore and exemplify the relationship between gender and poetic genres. The contributors suggest new ways of thinking and writing about poetry in light of contemporary questions about history and identity. Most of the contributions are published here for the first time.
OF WHAT FUTURE ARE THESE THE WILD, EARLY DAYS? An exploration of the role that artists play in resisting authoritarianism with a sci-fi twist. In poetry, dialogue and visual art the book follows two wandering poets as they make their way from village to village, across a prison colony moon full of exiled rebels, robots, and storytellers. Part post-apocalyptic road journal, part alternate universe history of Hip Hop, and part “Letters to a Young Poet”-style toolkit for emerging poets and aspiring movement-builders, it's also a one-of-a-kind practitioners' take on poetry, power, and possibility. NOT A LOT OF REASONS TO SING is a: -post-apocalyptic road journal -alternate universe history of Hip Hop -“Letters to a Young Poet” -toolkit for emerging poets and aspiring movement-builders it's also a one-of-a-kind practitioners' take on poetry, power, and possibility.
"As KB navigates burning issues of love, identity, race, and enforced gender, bearing witness to how intimacy can be a battleground, a declared truce, or an Eden, How to Identify Yourself with a Wound is never less than compelling and absorbing: 'Let me tell you the story of a tenderness the world refused to call / beautiful but it lives.' The powerful lines, the no-holds-barred voice, and risk-taking candor of these dynamic debut poems make the reader hungry for a whole volume." "The poems in How to Identify Yourself with a Wound pull no punches. Raw honesty paired with concise language inhabit and fully embody a life shaped by the intersection of race, class, sexuality, and gender. This is my favorite kind of poetry, necessary and urgent, revealing and saving and healing and re-creating both poet and reader." -
A versatile missive written from the intersections of gender, disability, trauma, and survival. “Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse’s poetry demands more of language and those who wield it. “I’m still learning not to let a stranger speak / me into a funeral.” Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse—elegant, vicious, “a one-girl armageddon” draped in crushed velvet—teaches us that fragility is not synonymous with flaw.
An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.