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A collection of essays written by well-known contemporary Irish women poets about their lives in relation to their own poetics. It is a conglomeration of voices around common themes, which have recently and forcefully emerged to permanently change Irish poetry. The experience of being women in a politically and religiously charged, male-dominated genre and country is one that transcends daily life by the need to articulate against the ""norm"". Poets describe in their own words, the issues they confronted in their growth as poets and the strategies they developed to translate life into art.
This third and final volume of A. David Moody's critical life of Ezra Pound presents Pound's personal tragedy in a tragic time. The first volumes of Moody's biography have been acclaimed as 'masterly' (Daily Telegraph), 'exceptional' (Literary Review), and 'invaluable' (New York Times Book Review). In this concluding volume, we experience the 1939-1945 World War, and Pound's hubristic involvement in Fascist Italy's part in it; we encounter the grave moral and intellectual error of Pound holding the Jewish race responsible for the war; and his consequent downfall, being charged with treason, condemned as an anti-Semite, and shut up for twelve years in an institution for the insane. Further, we see Pound stripped for life, by his own counsel and wife, of his civil and human rights. Pound endured what was inflicted upon him, justly and unjustly, without complaint; and continued his lifetime's effort to promote, in and through his Cantos and his translations, a consciousness of a possible humane and just social order. The contradictions run deep and compel, as tragedy does, a steady and unprejudiced contemplation and an answering depth of comprehension.
The Life of Poetry: Poets on Their Art and Craft offers books by poets writing prose on their alluring and elusive genre. These books will help readers to understand the poems on the page as much as they help poets to understand the mechanics of the process. These vital and engaging books articulate the literary vision, aesthetic beliefs, and pleasure in poetry in a way only practicing poets can, and contribute to the long and lively tradition of poets writing on their art and craft.
In his long-awaited first book of prose, poet and essayist Sherod Santos takes a compelling look into some of poetry's deepest secrets, an investigation that leads him to the surprising conclusion that poems have minds of their own, minds often inaccessible even to the one who composed them.
In these essays, Santos explores not only what he thinks about poetry but also what and how poetry thinks about itself. His writings range across the history of Western poetry, from formative classical myths to modern experimental forms, and touch on subjects as diverse as the rhetorical history of cannibalism, the political and cultural uses of translation, and the current state of American poetry. Along the way, he calls on past poets like Ovid, Baudelaire, and Phyllis Wheatley, on twentieth-century poets like Wallace Stevens, H. D., and Rainer Maria Rilke, and on writers and thinkers like Montaigne, Walter Benjamin, Simone Weil, and Paul de Man.
These essays explore facets of poetry known best to one who has practiced the art for years. From the methods of poetic attention to the processes by which perception is transformed into language and from the illusive relationship between poetry and "meaning" to theintegral relationship between poetry and memory, this collection delves into what it means to be a poet and how being a poet is intimately tied to one's social and cultural moment.
With Santos's trademark flair for seeking out the overlooked and unforeseeable, A Poetry of Two Minds is an extraordinary collection that testifies to its author's far-reaching intellectual curiosity. Readers who have delighted in his insights over the years can now have the satisfaction of having them caught between the covers of this provocative book.
The History of Intimacy is the fourth collection by award-winning poet Gabeba Baderoon. These poems render various intimacies and private hurts with eloquence and tenderness: the lost innocence of a child, a loved one in an ambulance, young passion across a man-made divide, a mother visiting her son in jail, elegies to an admired musician, mentor and poet, and the reverberations of past injustices in District Six, the Cape Flats and Hangklip.
*A BOOK TO LOOK FORWARD TO IN 2021 IN THE TIMES, FINANCIAL TIMES, DAILY MAIL, SUNDAY TIMES AND GUARDIAN* The epitaph John Keats composed for his own gravestone - 'Here lies one whose name was writ in water' - seemingly damned him to oblivion. When he died at the age of twenty-five, having taken a battering from the conservative press, few critics imagined he would be considered one of the great English poets two hundred years later, though he himself had an inkling. In this brief life, Lucasta Miller takes Keats's best-known poems - the ones you are most likely to have read - and excavates their backstories. In doing so, she resurrects the real Keats: a lower-middle-class outsider from a tragic and dysfunctional family, whose extraordinary energy and love of language allowed him to pummel his way into the heart of English literature; a freethinker and a liberal at a time of repression; a human being who delighted in the sensation of the moment; but a complex individual, not the ethereal figure of his posthumous myth. Combining close-up readings of his writings with the story of his brief but teeming existence, Lucasta Miller shows us how Keats made his poetry, and explains why it retains its vertiginous originality and continues to speak to us across the generations.
How did Latin erotic elegy influence and shape sixteenth-century English love poetry? Using an interdisciplinary approach, this book offers detailed readings of poetry with close attention to the erotic, sometimes problematically 'pornographic', 'wanton' and 'lascivious' verse that exists in both periods. Moving beyond arguments that relate Renaissance eroticism more or less solely back to Ovid and Petrarch, Linda Grant breaks new ground by demonstrating the extent to which a broader sense of classical, specifically Latin, erotics underpins conceptions of sexual love, gender and desire in Renaissance literature. Methodologically sophisticated and moving away from static source study to the dynamism of intertextuality and reception, Grant shows the value of dialogic readings, exploring how elegy speaks to Renaissance poetry and how reading poems from both periods together illuminates both sets of verse.
Joseph Rene Noyau (1911-84) was a Creolophone and Francophone Mauritian writer and poet who wrote under a number of pseudonyms including Jean Erenne which he used for the poems in this collection. Noyau lived and wrote at a crucial time in the history of the island of Mauritius. He was a passionately committed man of letters and a pioneer of personal and literary freedom in the march to an independent Mauritius. This book presents a selection of Noyau's poems in their original French and in English translation. ~ Joseph Rene Noyau (1911-84), ecrivain et poete mauricien, creolophone et francophone, utilisait un bon nombre de pseudonymes. Les poemes de ce recueil sont signes Jean Erenne. Il vivait et ecrivait a une epoque critique de l'histoire de l'ile Maurice. Homme de lettres engage, il etait passionnement devoue a la liberte d'expression tant sur le plan personnel que litteraire, dans la marche vers une ile Maurice independante. Ce livre contient une selection bilingue de poemes de Noyau dans leur langue d'origine, le francais, et leur traduction en anglais. ~ From Peter Pegnall: 'There are many reasons to be fascinated by Rene Noyau... He cannot be pigeonholed in any particular style or subject matter, moves from the earthy to the ethereal, often in the same poem. A devotee of the surreal image, exotic and startling, he is also capable of a raw clarity that hammers home his meaning. Like many true artists, Rene was not the best custodian or promoter of his work and his native land was not entirely ready for his force or originality. The current volume is an effort to reach an audience he might never have imagined, to be a recognition and a discovery for years to come, crossing age and cultural barriers.'
In recent years Christina Rossetti's star has soared. Rossetti (1830-1894) has come to be considered one of the major poets--not just one of the major women poets--of the Victorian era, eclipsing her famous brother. Leading critics have demonstrated how studies of Rossetti's work, her daily life, her relationships with the Pre-Raphaelites, and her interactions with other women authors of the period can help us understand the unique cultural situation of Victorian women writers. When complete in four volumes, this project will make available all of Rossetti's extant letters, almost two-thirds of which have never been published.
This is the first comprehensive study of the works of one of lreland's most significant contemporary poets. Thomas Kinsella, who first became well known in Ireland in the 1950s, now ranks among the most important of his generation of Irish poets. Although he is considered by many to be the most serious and the most experimental of the contemporary Irish poets, his work has received little critical attention. Kinsella is often credited with bringing the techniques of international modernism to Irish verse. Jackson presents a rounded critique of the later poems, whose art engages, analyses and morally restructures the content of the poet's world. What emerges from The Whole Matter is a picture of Kinsella's astonishingly far-reaching evolution, culminating in an art deeply engaged with the culture around it and with the entire human predicament.
This volume is part of the Writers in Britain series which introduces children to great literary figures. This title examines the lives of the romantic poets, taking in Blake, Coleridge, Keats, Shelley, and Wordsworth and considers the time in which they wrote their poetry.
Wordsworth has traditionally been understood as the 'poet of memory'. This book argues that 'unremembered pleasure', an idea Wordsworth formulates in 'Tintern Abbey' but is often overlooked by modern readers, is central to understanding his writing. Wordsworth's poems discover and articulate a broad range of previously unfelt, unnoticed, and unconscious satisfactions. As well as providing new interpretations of major and under-studied writing by Wordsworth, this volume challenges a long tradition of psychoanalytic reading of romanticism, which uses trauma to explain the limits of literary memory. The book contests key psychoanalytic concepts in literary criticism including repression, sublimation, mourning, and pleasure. It asks what it would mean for us to be 'surprised by joy'.
So that readers could more fully understand the extent of Williams' radical simplicity, all of his published poetry, excluding Paterson, was reissued in two definite volumes, of which this is the first.
The translation of Beowulf by J.R.R. Tolkien was an early work, very distinctive in its mode, completed in 1926: he returned to it later to make hasty corrections, but seems never to have considered its publication. This edition is twofold, for there exists an illuminating commentary on the text of the poem by the translator himself, in the written form of a series of lectures given at Oxford in the 1930s; and from these lectures a substantial selection has been made, to form also a commentary on the translation in this book. From his creative attention to detail in these lectures there arises a sense of the immediacy and clarity of his vision. It is as if he entered into the imagined past: standing beside Beowulf and his men shaking out their mail-shirts as they beached their ship on the coast of Denmark, listening to the rising anger of Beowulf at the taunting of Unferth, or looking up in amazement at Grendel's terrible hand set under the roof of Heorot. But the commentary in this book includes also much from those lectures in which, while always anchored in the text, he expressed his wider perceptions. He looks closely at the dragon that would slay Beowulf 'snuffling in baffled rage and injured greed when he discovers the theft of the cup'; but he rebuts the notion that this is 'a mere treasure story', 'just another dragon tale'. He turns to the lines that tell of the burying of the golden things long ago, and observes that it is 'the feeling for the treasure itself, this sad history' that raises it to another level. 'The whole thing is sombre, tragic, sinister, curiously real. The "treasure" is not just some lucky wealth that will enable the finder to have a good time, or marry the princess. It is laden with history, leading back into the dark heathen ages beyond the memory of song, but not beyond the reach of imagination.' Sellic Spell, a 'marvellous tale', is a story written by Tolkien suggesting what might have been the form and style of an Old English folk-tale of Beowulf, in which there was no association with the 'historical legends' of the Northern kingdoms.
This critical study explores the relationship between Hopkins' poetic art and his philosophy and shows why Hopkins' poetry has endured. Sean Sheehan is the author of a study of anarchism and of a guide to Wittgenstein.
The Cambridge History of American Poetry offers a comprehensive exploration of the development of American poetic traditions from their beginnings until the end of the twentieth century. Bringing together the insights of fifty distinguished scholars, this literary history emphasizes the complex roles that poetry has played in American cultural and intellectual life, detailing the variety of ways in which both public and private forms of poetry have met the needs of different communities at different times. The Cambridge History of American Poetry recognizes the existence of multiple traditions and a dramatically fluid canon, providing current perspectives on both major authors and a number of representative figures whose work embodies the diversity of America's democratic traditions.
HarperCollins is proud to present its new range of best-loved, essential classics. 'There is no greater sorrow then to recall our times of joy in wretchedness.' Considered one of the greatest medieval poems written in the common vernacular of the time, Dante's Inferno begins on Good Friday in the year 1300. As he wanders through a dark forest, Dante loses his way and stumbles across the ghost of the poet Virgil. Virgil promises to lead him back to the top of the mountain, but to do so, they must pass through Hell, encountering all manner of shocking horrors, sins and evil torments along the way, evoking questions about God's justice, human behaviour and Christianity.
This is a book about a poet, about a poem, about a city, and about a world at a point of change. More than a work of literary criticism or literary biography, it is a record of why and how we create and respond to great poetry. This is a book about a poet - W. H. Auden, a wunderkind, a victim-beneficiary of a literary cult of personality who became a scapegoat and a poet-expatriate largely excluded from British literary history because he left. About a poem - 'September 1, 1939', his most famous and celebrated, yet one which he tried to rewrite and disown and which has enjoyed - or been condemned - to a tragic and unexpected afterlife. About a city - New York, an island, an emblem of the Future, magnificent, provisional, seamy, and in 1939 about to emerge as the defining twentieth-century cosmopolis, the capital of the world. And about a world at a point of change - about 1939, and about our own Age of Anxiety, about the aftermath of September 11, when many American newspapers reprinted Auden's poem in its entirety on their editorial pages.
Joseph Addison: Tercentenary Essays is a collection of fifteen essays by a team of internationally recognized experts specially commissioned to commemorate the three hundredth anniversary of Addison's death in 2019. Almost exclusively known now as the inventor and main author of The Spectator, probably the most widely read and imitated prose work of the eighteenth century, Addison also produced important and influential work across a broad gamut of other literary modes-poems, verse translations, literary criticism, periodical journalism, drama, opera, travel writing. Much of this work is little known nowadays even in specialist academic circles; Addison is often described as the most neglected of the eighteenth century's major writers. This volume is the first collection to address the full range and variety of Addison's career and writings. Its fifteen chapters fall into three groupings: the first set study Addison's work in modes other than the literary periodical (poetry, translation, travel writing, drama); the second set address The Spectator from a variety of disciplinary perspectives (literary-critical, sociological and political, bibliographical); and the final set explore Addison's reception within several cultural spheres (philosophy, horticulture, art history), by individual writers or across larger historical periods (the Romantic age, the Victorian age), and in Britain and Europe, especially France. The volume provides an overdue and appropriately diverse memorial to one of the dominant men of letters of the Georgian era.
This volume considers representations of space and movement in sources ranging from Roman comedy to late antique verse, exploring how poetry in the Roman world is fundamentally shaped by its relationship to travel within the geography of Rome's far-reaching empire. The volume surveys Roman poetics of travel and geography in sources ranging from Plautus to Augustan poetry, from the Flavians to Ausonius. The chapters offer a range of approaches to: the complex relationship between Latin poetry, Roman identity, imperialism, and travel and geospatial narratives; and the diachronic and generic evolutions of poetic descriptions of space and mobility. In addition, two chapters, including the concluding one, contextualize and respond to the volume's discussion of poetry by looking at ways in which Romans not only write and read poems about travel and geography, but also make writing and reading part of the experience of traveling, as demonstrated in their epigraphic practices. The collection as a whole offers important insights into Roman poetics and into ancient notions of movement and geographical space. Travel, Geography, and Empire in Latin Poetry will be of interest to specialists in Latin poetry, ancient travel, and Latin epigraphy as well as to those studying travel writing, geography, imperialism, and mobility in other periods. The chapters are written to be accessible to researchers, graduate students, and advanced undergraduates.
Dylan Thomas' work has been both over and under-rated. Peter Davies goes behind Thomas' overt poetizing to discriminate those poems that are of enduring interest. Peter Davies is Senior Obituaries Writer at 'The Time' and author of 'William Blake', 'The Brontes' and editor for this 'Greenwich Exchange' series.
In Dickinson's Nerves, Frost's Woods, William Logan, the noted and often controversial critic of contemporary poetry, returns to some of the greatest poems in English literature. He reveals what we may not have seen before and what his critical eye can do with what he loves. In essays that pair different poems-"Ozymandias," "On First Looking Into Chapman's Homer," "In a Station of the Metro," "The Red Wheelbarrow," "After great pain, a formal feeling comes," and "Stopping by Woods on a Snowy Evening," among others-Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney. In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made. Logan's criticism is informed by the material culture of that world, whether postal deliveries in Regency London, the Metro lighting in 1911 Paris, or the wheelbarrows used in 1923. Deeper knowledge of the poet's daily existence lets us read old poems afresh, providing a new way of understanding poems now encrusted with commentary. Logan shows that criticism cannot just root blindly among the words of the poem but must live partly in a lost world, in the shadow of the poet's life and the shadow of the age.
Joseph Rolnik is widely considered one of the most prominent of the New York Yiddish poets associated with Di Yunge, an avant-garde literary group that formed in the early twentieth century. In his moving and evocative memoir, Rolnik recalls his childhood growing up in a small town in Belarus and his exhilarating yet arduous experiences as an impoverished Yiddish poet living in New York. Working in garment factories by day and writing poetry by night, he became one of the most published and influential writers of the Yiddish literary scene. Unfolding in a series of brief sketches, poems, and vignettes rather than consistent narrative, Rolnik's memoir is imbued with the poet's rich, sensuous language, which vividly describes the sounds and images of his life. Marcus's elegant translation, along with his introduction situating Rolnik's poetry in its literary historical context, gives readers a fascinating account of this underappreciated literary treasure.
The purpose of this series is to promote the study of writing in the English language through the introduction of the major figures writing in English throughout the ages. The books provide an analytical and historical framework for understanding their subjects. In this introduction to Wordworth's work, Andrew Keanie explores the poet's politics, his relationship with his sister Dorothy and Samuel Taylor Coleridge, as well as his synthesis of poetry and philosophy, his startlingly modern strategy of image-building and quest for literary immortality. Keanie sifts through Wordworth's vast output to select those poems of enduring meaning, making clear his achievements.
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