By Emily Rosko, Anton Vander Zee
In the world of poetry and poetics during the last century, no suggestion has been extra alive and contentious than the belief of shape, and no point of shape has extra emphatically backed this marked formal crisis than the road. yet what, precisely, is the road? Emily Rosko and Anton Vander Zee’s anthology provides seventy unique solutions that lead us deeper into the realm of poetry, but additionally a ways out into the area at huge: its humans, its politics, its ecology. The authors incorporated right here, rising and confirmed alike, write from a number views, when it comes to either aesthetics and identification. jointly, they provide a dynamic hybrid assortment that captures a huge spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s advent deals a beneficiant evaluation of conversations concerning the line from the Romantics ahead. We come to determine how the road can be an engine for beliefs of progress—political, moral, or differently. For a few poets, the road touches upon the main primary questions of information and life. greater than ever, the road is the unconventional opposed to which even trade and rising poetic kinds that foreground the visible or the auditory, the web page or the monitor, may be extraordinary and understood. From the beginning, a novel lesson emerges: strains don't shape which means exclusively of their brevity or their size, of their changing into or their brokenness; traces reside in and during the descriptions we provide them. certainly, the heritage of yankee poetry within the 20th century may be advised by means of the compounding, and infrequently confounding, discussions of its strains. A damaged factor either displays upon and extends this background, charting a wealthy diffusion of concept and perform into the twenty-first century with the main various, wide-ranging and fascinating set of essays up to now at the line in poetry, revealing how poems paintings and why poetry maintains to topic.
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Extra resources for A Broken Thing: Poets on the Line
Or does the line require separate life, separate from the poem, text without context. The line itself, ornate and gorgeous, creates a texture defined by the space between one line and the next. Something exists in the here and now with no dependence on before or after. Few “prose poems” seem to work with the single sentence as a carrier of poetic weight and instead work primarily with the paragraph as a basic unit, which seems to me to be just another way to frame a moment as complete but not explore the fleetingness, uncapturability, and pure tragic drama of a single moment that passes and has to pass.
The Collected Works of Phillis Wheatley. Ed. John Shields. Oxford: Oxford University Press, 1989. Whitman, Walt. Complete Poetry and Collected Prose. New York: Library of America, 1982. Williams, William Carlos. Imaginations. New York: New Directions, 1970. ———. Paterson. Ed. Christopher MacGowan. New York: New Directions, 1995. ———. Selected Essays. New York: Random House, 1954. Wordsworth, William. The Prelude: 1799, 1805, 1850. Ed. Jonathan Wordsworth, M. H. Abrams, and Stephen Gill. New York: W.
He plays the suggestive fool here, not just a partisan joker. The intervening decades between this burst of critical activity in the 80s and the present moment have witnessed a few notable developments in thinking about the line in poetry. In Bernstein’s edited collection Close Listening: Poetry and the Performed Word (1998), Perloff takes the occasion to return once more to the line. Her contribution to that volume, “After Free Verse: The New Nonlinear Poetries,” urges a move beyond a narrow conception of linearity that, for her, marks the watered-down free verse in poetry anthologies such as Naked Poetry (1969).