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Brimming with poetry, art, and nature writing—Wordsworth and Coleridge as you've never seen them before June 1797 to September 1798 is the most famous year in English poetry. Out of it came Samuel Taylor Coleridge's The Rime of the Ancient Mariner and “Kubla Khan,” as well as his unmatched hymns to friendship and fatherhood, and William Wordsworth’s revolutionary songs in Lyrical Ballads along with “Tintern Abbey,” Wordsworth's paean to the unity of soul and cosmos, love and understanding. In The Making of Poetry, Adam Nicolson embeds himself in the reality of this unique moment, exploring the idea that these poems came from this particular place and time, and that only by experiencing the physical circumstances of the year, in all weathers and all seasons, at night and at dawn, in sunlit reverie and moonlit walks, can the genesis of the poetry start to be understood. The poetry Wordsworth and Coleridge made was not from settled conclusions but from the adventure on which they embarked, thinking of poetry as a challenge to all received ideas, stripping away the dead matter, looking to shed consciousness and so change the world. What emerges is a portrait of these great figures seen not as literary monuments but as young men, troubled, ambitious, dreaming of a vision of wholeness, knowing they had greatness in them but still in urgent search of the paths toward it. The artist Tom Hammick accompanied Nicolson for much of the year, making woodcuts from the fallen timber in the park at Alfoxden where the Wordsworths lived. Interspersed throughout the book, his images bridge the centuries, depicting lives at the source of our modern sensibility: a psychic landscape of doubt and possibility, full of beauty and thick with desire for a kind of connectedness that seems permanently at hand and yet always out of reach.
Explores various themes such as 'Capturing Animals', 'Wind and Weather' and 'Writing about People'. This book encourages children to think and write for themselves via a discussion of the poems.
This groundbreaking volume may well be the poetry anthology for the global village. As selected by J.D. McClatchy, this collection includes masterpieces from four continents and more than two dozen languages in translations by such distinguished poets as Elizabeth Bishop, W.S. Merwin, Ted Hughes, and Seamus Heaney. Among the countries and writers represented are: Bangladesh--Taslima Nasrin Chile--Pablo Neruda China--Bei Dao, Shu Ting El Salvador--Claribel Alegria France--Yves Bonnefoy Greece--Odysseus Elytis, Yannis Ritsos India--A.K. Ramanujan Israel--Yehuda Amichai Japan--Shuntaro Tanikawa Mexico--Octavio Paz Nicaragua--Ernesto Cardenal Nigeria--Wole Soyinka Norway--Tomas Transtromer Palestine--Mahmoud Darwish Poland--Zbigniew Herbert, Czeslaw Milosz Russia--Joseph Brodsky, Yevgeny Yevtushenko Senegal--Leopold Sedar Senghor South Africa--Breyten Breytenbach St. Lucia, West Indies--Derek Walcott
A great photograph has the potential to transcend verbal and written language. But how do you create these photographs? It’s not the how that’s important, but the who and the what. Who you are as a person has a direct impact on what you capture as a photographer. Whether you are an amateur or professional, architect or acupuncturist, physician or photographer, this guide provides inspiration, simple techniques, and assignments to boost your creative process and improve your digital images using natural light without additional gear. Chris Orwig’s insights—to reduce and simplify, participate rather than critique, and capture a story—have made him an immensely popular workshop speaker and faculty member at the prestigious Brooks Institute. His engaging stories presented as lessons follow his classroom approach and highlight what students say is his contagious passion for life. In this accessible and beautifully illustrated four-color guide you will: Discover visual poetry in the creative process Use less to say more with your subject matter Learn to see light, color, shape, and expression Understand what gear is essential Create compelling portraits Make lasting memories of your family and kids Capture the outdoors and adventure Begin the transition from amateur to professional Chris also includes exclusive interviews with such photographers as: Steve McCurry, Chris Rainier, John Sexton, Rodney Smith, Joyce Tenneson, John Paul Caponigro, Marc Riboud, and Pete Turner. Share your work with the author and other readers at www.flickr.com/groups/visual-poet and visit the Web site: www.visual-poet.com.
In this ground-breaking book, Jane H. M. Taylor explores some late-medieval lyric anthologies. Taking a cue from the French sociologist, Pierre Bourdieu, she sets poetic creation in the context of an understanding of the structures of court society, and sketches the range of social, intellectual and aesthetic positions available to the poet and the patron. Her primary focus is on a series of manuscripts which, she argues, reveal much about the socioliterary dynamics of particular poems, and about the way in which they are vessels for the participation by individuals in a common culture of literary exchange: Charles d'Orleans's personal manuscript, BNF francais 25458, in which, she argues, the poets leave implicit or explicit traces of their social interactions; his duchess Marie's album, Carpentras 375, which is interestingly different from the Duke's; BNF fr. 9223 and n.a.f. 15771, 'coterie' manuscripts which allow us to see how social milieu determines shared literary forms and conventions; Marguerite d'Autriche's Album poetique, Brussels BR 10572, an anthology which is a cultural commodity allowing a princely court to recognise stylistic expertise and control of form. She finishes by examining the first great French poetic anthology, Antoine Verard's Jardin de Plaisance (1501), which seeks to recreate, knowingly and imaginatively, via rubrics, illustrations, and choice of texts, the elite sociability for which the other anthologies are evidence.
From the winner of the Bollingen Prize in poetry and author of the classic bestseller "Rose, Where Did You Get That Red?" comes a unique, highly entertaining book for anyone who wants to be a better reader and writer of poetry.
"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--
Introduces the different kinds of poetry and the mechanics of writing poetry, providing an opportunity for the reader to experience the joy of making a poem.
The Poet Laureate's clear and entertaining account of how poetry works. "Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing." As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud. He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart. This ideal introductory volume belongs in the library of every poet and student of poetry.