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This book, by one of Italy's most important and original contemporary philosophers, represents a broad, general, and ambitious undertaking--nothing less than an attempt to rethink the nature of poetic language and to rearticulate relationships among theology, poetry, and philosophy in a tradition of literature initiated by Dante. The author presents "literature" as a set of formal or linguistic genres that discuss or develop theological issues at a certain distance from the discourse of theology. This distance begins to appear in Virgil and Ovid, but it becomes decisive in Dante and in his decision to write in the vernacular. His vernacular Italian reaches back through classical allusion to the Latin that was in his day the language of theology, but it does so with a difference. It is no accident that in the Commedia Virgil is Dante's guide. The book opens with a discussion of just how Dante's poem is a "comedy," and it concludes with a discussion of the "ends of poetry" in a variety of senses: enjambment at the ends of lines, the concluding lines of poems, and the end of poetry as a mode of writing this sort of literature. Of course, to have poetry "end" does not mean that people stop writing it, but that literature passes into a period in which it is concerned with its own ending, with its own bounds and limits, historical and otherwise. Though most of the essays make specific reference to various authors of the Italian literary tradition (including Dante, Polifilo, Pascoli, Delfini, and Caproni), they transcend the confines of Italian literature and engage several other literary and philosophical authors (Plato, Aristotle, the Stoics, Boethius, the Provençal poets, Mallarmé, and Hölderlin, among others).
In The End of the Poem, Paul Muldoon, "the most significant English-language poet born since the Second World War" (The Times Literary Supplement), presents engaging, rigorous, and insightful explorations of a diverse group of poems, from Yeats's "All Souls' Night" to Stevie Smith's "I Remember" to Fernando Pessoa's "Autopsychography." Here Muldoon reminds us that the word "poem" comes, via French, from the Latin and Greek: "a thing made or created." He asks: Can a poem ever be a freestanding, discrete structure, or must it always interface with the whole of its author's bibliography—and biography? Muldoon explores the boundlessness, the illimitability, created by influence, what Robert Frost meant when he insisted that "the way to read a poem in prose or verse is in the light of all the other poems ever written." And he writes of the boundaries or borders between writer and reader and the extent to which one determines the role of the other. At the end, Muldoon returns to the most fruitful, and fraught, aspect of the phrase "the end of the poem": the interpretation that centers on the "aim" or "function" of a poem, and the question of whether or not the end of the poem is the beginning of criticism. Irreverent, deeply learned, often funny, and always stimulating, The End of the Poem is a vigorous and accessible approach to looking at poetry anew.
Ryan O'Brian is riding a wave of inspiration with no shoreline in sight--he can't STOP writing poetry. In the cafeteria with french fries. In the bathroom with toothpaste. Even on the soccer field with mud! Has he reached an artistic crescendo with a sonnet on the staircase and a villanelle on the shower curtain? What next? In this innovative, inspiring picture book, you'll find a laugh-out-loud story poem full of hilarious antics, and, if you look carefully, you'll discover Ryan's own poems within the inventive illustrations. As a bonus, Ryan's helpful guide to fifteen poetic forms and five voices invites you to challenge your own poetic imagination. Ideal for reading aloud or acting out, here's the perfect book to celebrate the joy of poetry and spark creative thinking. Join in the fun!
Explores the question: How do poems end? This work examines numerous individual poems and examples of common poetic forms in order to reveal the relationship between closure and the overall structure and integrity of a poem.
Marina Tsvetaeva is acknowledged today as one of the twentieth century's greatest poets, a masterful innovator who produced a remarkable body of work before her untimely death in 1941.
'Bright Dead Things buoyed me in this dismal year. I'm thankful for this collection, for its wisdom and generosity, for its insistence on holding tight to beauty even as we face disintegration and destruction.' Celeste Ng, author of Everything I Never Told You A book of bravado and introspection, of feminist swagger and harrowing loss, Bright Dead Things considers how we build our identities out of place and human contact - tracing in intimate detail the ways the speaker's sense of self both shifts and perseveres as she moves from New York City to rural Kentucky, loses a dear parent, ages past the capriciousness of youth and falls in love. In these extraordinary poems Ada Limón's heart becomes a 'huge beating genius machine' striving to embrace and understand the fullness of the present moment. 'I am beautiful. I am full of love. I am dying,' the poet writes. Building on the legacies of forebears such as Frank O'Hara, Sharon Olds and Mark Doty, Limón's work is consistently generous, accessible, and 'effortlessly lyrical' (New York Times) - though every observed moment feels complexly thought, felt and lived.
"Exquisite . . . A powerful example of how to carry the things that define us without being broken by them." --WASHINGTON POST
Literary Nonfiction. Sparked by the only two letters--out of over a hundred-that López Medin's mother saved from her own mother in Paraguay, THE POEM THAT NEVER ENDS weaves together poems and family photos to explore the fragmentation of time, memory, and mother-child relationships. Fragments, family hearing impairments, ripped-up letters, and living and writing between languages point to the inescapable holes in language, troubling the notion of a finite utterance. Layering elements of painting, cinema, and the elusive three dimensions of theater into the weave, THE POEM THAT NEVER ENDS traces a sequence of mothers-López Medin's mother, her mother's mother, herself as a mother-in a porous, restless gesture toward what's never fully grasped.
This is one of the wisest books I've read in years... —New York Times Book Review No writer I know of comes close to even trying to articulate the weird magic of poetry as Ruefle does. She acknowledges and celebrates in the odd mystery and mysticism of the act—the fact that poetry must both guard and reveal, hint at and pull back... Also, and maybe most crucially, Ruefle’s work is never once stuffy or overdone: she writes this stuff with a level of seriousness-as-play that’s vital and welcome, that doesn’t make writing poetry sound anything but wild, strange, life-enlargening fun. -The Kenyon Review Profound, unpredictable, charming, and outright funny...These informal talks have far more staying power and verve than most of their kind. Readers may come away dazzled, as well as amused... —Publishers Weekly This is a book not just for poets but for anyone interested in the human heart, the inner-life, the breath exhaling a completion of an idea that will make you feel changed in some way. This is a desert island book. —Matthew Dickman The accomplished poet is humorous and self-deprecating in this collection of illuminating essays on poetry, aesthetics and literature... —San Francisco Examiner Over the course of fifteen years, Mary Ruefle delivered a lecture every six months to a group of poetry graduate students. Collected here for the first time, these lectures include "Poetry and the Moon," "Someone Reading a Book Is a Sign of Order in the World," and "Lectures I Will Never Give." Intellectually virtuosic, instructive, and experiential, Madness, Rack, and Honey resists definition, demanding instead an utter—and utterly pleasurable—immersion. Finalist for the 2012 National Book Critics Circle Award. Mary Ruefle has published more than a dozen books of poetry, prose, and erasures. She lives in Vermont.
The instant #1 New York Times bestseller and #1 USA Today bestseller Amanda Gorman’s electrifying and historic poem “The Hill We Climb,” read at President Joe Biden’s inauguration, is now available as a collectible gift edition. “Stunning.” —CNN “Dynamic.” —NPR “Deeply rousing and uplifting.” —Vogue On January 20, 2021, Amanda Gorman became the sixth and youngest poet to deliver a poetry reading at a presidential inauguration. Taking the stage after the 46th president of the United States, Joe Biden, Gorman captivated the nation and brought hope to viewers around the globe with her call for unity and healing. Her poem “The Hill We Climb: An Inaugural Poem for the Country” can now be cherished in this special gift edition, perfect for any reader looking for some inspiration. Including an enduring foreword by Oprah Winfrey, this remarkable keepsake celebrates the promise of America and affirms the power of poetry.