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Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers here, Helen Vendler reveals a style of thinking in operation; although they may prefer different means, she argues, all poets of any value are thinkers. The four poets taken up in this volume--Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats--come from three centuries and three nations, and their styles of thinking are characteristically idiosyncratic. Vendler shows us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay, Whitman writing as a poet of repetitive insistence for whom thinking must be followed by rethinking, Dickinson experimenting with plot to characterize life's unfolding, and Yeats thinking in images, using montage in lieu of argument. With customary lucidity and spirit, Vendler traces through these poets' lines to find evidence of thought in lyric, the silent stylistic measures representing changes of mind, the condensed power of poetic thinking. Her work argues against the reduction of poetry to its (frequently well-worn) themes and demonstrates, instead, that there is always in admirable poetry a strenuous process of thinking, evident in an evolving style--however ancient the theme--that is powerful and original.
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When will American poetry and poetics stop viewing poetry by racialized persons as a secondary subject within the field? Dorothy J. Wang makes an impassioned case that now is the time. Thinking Its Presence calls for a radical rethinking of how American poetry is being read today, offering its own reading as a roadmap. While focusing on the work of five contemporary Asian American poets—Li-Young Lee, Marilyn Chin, John Yau, Mei-mei Berssenbrugge, and Pamela Lu—the book contends that aesthetic forms are inseparable from social, political, and historical contexts in the writing and reception of all poetry. Wang questions the tendency of critics and academics alike to occlude the role of race in their discussions of the American poetic tradition and casts a harsh light on the double standard they apply in reading poems by poets who are racial minorities. This is the first sustained study of the formal properties in Asian American poetry across a range of aesthetic styles, from traditional lyric to avant-garde. Wang argues with conviction that critics should read minority poetry with the same attention to language and form that they bring to their analyses of writing by white poets.
To write or read a poem is often to think in distinctively poetic ways—guided by metaphors, sound, rhythms, associative movement, and more. Poetry’s stance toward language creates a particular intelligence of thought and feeling, a compressed articulation that expands inner experience, imagining with words what cannot always be imagined without them. Through translation, poetry has diversified poetic traditions, and some of poetry’s ways of thinking begin in the ancient world and remain potent even now. In How Poems Think, Reginald Gibbons presents a rich gallery of poetic inventiveness and continuity drawn from a wide range of poets—Sappho, Pindar, Shakespeare, Keats, William Carlos Williams, Marina Tsvetaeva, Gwendolyn Brooks, and many others. Gibbons explores poetic temperament, rhyme, metonymy, etymology, and other elements of poetry as modes of thinking and feeling. In celebration and homage, Gibbons attunes us to the possibilities of poetic thinking.
"We need poetry as we need love and company," according to Miller Williams. Making a Poem speaks to us all -- those of us trying to write a first poem, those who have published volumes of poetry, and anyone who cares how the world and language fit together. Distinguished as a poet, a teacher, a scholar, and a publisher, Williams traverses a wealth of topics. He explores poetic techniques of line break, rhythm and meter, and the development of verse forms. In our technological age, he makes clear that poetry is essential to the human soul, showing the connection between scientists and humanists. Williams draws from experience to describe the importance of teaching poetry to prisoners, the value of the university and the small press in fostering poetry, and the relationship between writer and editor. Making a Poem is an intimate, conversational treatise on poetry by a man of letters with decades of practice in both the business and the craft of verse. Readers will take away from this delightful book a deeper appreciation of the poet's art and the vital role poetry can play in their everyday lives.
Combining a carefully organized anthology of poetry and an effective writing about literature text, Thinking and Writing about Poetry helps you become a better literary reader and better academic writer.
Thinking through Poetry: Field Reports on Romantic Lyric pursues two goals. The title signals the contribution to debates about reading. Do we think 'through' - 'by means of', 'with'- poems, sympathetically elaborating their surfaces? Is this compatible with a second meaning: 'thinking through' poems to their end-solving a problem, getting to its root, its deep truth? Third, can we square these surface and depth readings with a speculative, philosophical criticism to which the poem carries us, where 'through' denotes a 'going beyond?' All three meanings of 'through' are in play throughout. The subtitle applies 'field' first to Romantic studies since the 1980s, a field that this project reflects upon from beginning to end. Examples are drawn especially from Wordsworth, but also from Coleridge and, in assessing Romanticism's afterlife, from Stevens. 'Field' also characterizes the shift from a unitary to a field-concept of form during that time-span, a shift pursued through prolonged engagement with Spinoza. 'Field' thus underscores the synthesis of form and history, the importance of analytic scale to that synthesis, and the displacement of entity (text) by 'relation' as the object of investigation. While the book historically connects early nineteenth-century intellectual trends to twentieth- and twenty-first-century scientific revolutions, its focuses on introducing new models to literary criticism. Unlike accounts of the influence of science on literature, or various 'literature + X' approaches (literature and ecology, literature and cognitive science), it constructs its object of inquiry in a way cognate with work in non-humanities disciplines, thus highlighting a certain unity to human knowledge. The claim is that specialists in literature should think the way distinguished scientists think, and vice versa.
"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--
A poetry collection that both illustrates what mindfulness is and encourages young, growing minds to be present, from poet and educator Georgia Heard, with art by Isabel Roxas. Poets have long observed the world in a mindful way. They point out beauty we might have missed, draw our attention to our inner thoughts, and call us to see our society in new ways. But as daily life become more and more chaotic, children grow distracted. According to the CDC, 9.4% of children have ADHD and 7% have anxiety/depression. And these numbers continue to climb. As treatment doctors recommend healthy eating, physical activity, plenty of sleep, and mindfulness techniques. Georgia Heard is a poet and educator—and she has long had her own meditation practice. In My Thoughts Are Clouds, she uses poetry to demonstrate what mindfulness is and gives kids—and their parents and teachers—accessible ways to learn mindfulness tools.