By Emily Rosko, Anton Vander Zee
In the world of poetry and poetics during the last century, no inspiration has been extra alive and contentious than the assumption of shape, and no point of shape has extra emphatically backed this marked formal difficulty than the road. yet what, precisely, is the road? Emily Rosko and Anton Vander Zee’s anthology supplies seventy unique solutions that lead us deeper into the area 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 validated alike, write from more than a few views, by way of either aesthetics and identification. jointly, they provide a dynamic hybrid assortment that captures a extensive spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s creation bargains a beneficiant evaluation of conversations concerning the line from the Romantics ahead. We come to work out how the road should be an engine for beliefs of progress—political, moral, or another way. For a few poets, the road touches upon the main primary questions of data and life. greater than ever, the road is the novel opposed to which even exchange and rising poetic varieties that foreground the visible or the auditory, the web page or the display, may be unusual and understood. From the beginning, a novel lesson emerges: traces don't shape which means exclusively of their brevity or their size, of their changing into or their brokenness; traces dwell in and during the descriptions we provide them. certainly, the background of yank poetry within the 20th century should be advised by way of the compounding, and infrequently confounding, discussions of its traces. A damaged factor either displays upon and extends this heritage, charting a wealthy diffusion of thought and perform into the twenty-first century with the main various, wide-ranging and interesting set of essays up to now at the line in poetry, revealing how poems paintings and why poetry keeps to topic.
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Additional info for A Broken Thing: Poets on the Line
For years I secretly thought about the life of the line in prose poetry, but a recent experience inspired my writing this essay. ” The very margins that had helped me compose the poem were blown open when the poem appeared in Crazyhorse. Below are the two versions (in each version the poem was justified on both sides). Even as I paste the original version I submitted, I repeat to myself the end-words as a guide to maintain the line-breaks: “Your”—“kiss”—“See”—“of ”—“body”—“moist”—“half ”: This lean of bone and tilt.
Ed. T. V. F. Brogan and Alex Preminger. Princeton, NJ: Princeton University Press, 1993. 426–427. ———. The Scissors of Meter: Grammetrics and Reading. Ann Arbor: University of Michigan Press, 1996. Wheatley, Phillis. 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.
T. V. F. Brogan and Alex Preminger. Princeton, NJ: Princeton University Press, 1993. 426–427. ———. The Scissors of Meter: Grammetrics and Reading. Ann Arbor: University of Michigan Press, 1996. Wheatley, Phillis. 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.