By Erik Martiny
A better half to Poetic style brings jointly over forty contributions from best teachers to supply severe overviews of poetic genres and their glossy variations. Covers a wide variety of poetic cultural traditions from Britain, eire, North the US, Japan and the CaribbeaSummarises many genres from their earliest origins to their latest renderingsThe purely full-length serious assortment to house smooth variations of poetic genresContributors comprise Bernard O’Donoghue, Stephen Burt, Jahan Ramazani, and plenty of different impressive students of poetry and poetics
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Extra resources for A Companion to Poetic Genre
It does not expend itself. It preserves and concentrates its strength and is capable of releasing it even after a long time . . [A] story from ancient Egypt is still capable after thousands of years of arousing astonishment and thoughtfulness. It resembles the seeds of grain which have lain for centuries in the 6 Jahan Ramazani chambers of the pyramids shut up air-tight and have retained their germinative power to this day. There is nothing that commends a story to memory more effectively than that chaste compactness which precludes psychological analysis.
4–5, 2, 10, 28, 33–34). With a similar attention to the details of contemporary scene, sonnets by Rafael Campo, Marilyn Hacker, Kate Light, and Rachel Wetzsteon depict the vicissitudes of modern dating, gay and straight, mixing techniques from, among other sources, screwball comedy, feminist theory, queer studies, light verse, and pop culture. 8–9) introduce a touch of local color as a background to the poem’s true subject, a jazz saxophonist, a figure of noble dignity. In the next generation of metrical verse, “punk teens” do not “drift past”; they claim center stage.
Dawson adds rhyme to rhyme; the internal quoted lines rhyme with each other, leaving less than two metrical feet to meet the next rhyme. 18–19]), and multisyllabic and one-syllable words. To account for this variety, the poem proposes metaphor after metaphor for its handling of form: at times athletic, at times musical, at times linguistic (“logogriph,” 23). ” At its most successful such poetry achieves a thrilling movement, daring and excited. In its exuberant commitment to whatever it can rhyme, though, it also risks producing a verse equivalent of what James Woods decries as the contemporary novel’s “hysterical realism,” “characterised by a fear of silence .
A Companion to Poetic Genre by Erik Martiny