Criticism Theory

Download A Grain of Poetry: How to Read Contemporary Poems and Make by Herbert R. Kohl PDF

By Herbert R. Kohl

Poetry has the ability to maneuver and problem the reader. it might accentuate or maybe have a good time distress, be cynical or wry, or simply chortle outright in an outrageous method. Poetry is as severe and antic as existence, and but interpreting sleek poetry may be surprising to our experience of what language is or needs to be.In A Grain of Poetry, Herbert Kohl offers a chain of guideposts to assist each person learn poetry and notice these poems that tell and encourage them. In transparent, direct language, he covers the entire essential-but frequently unchartedpaths to knowing poetry: shape and constitution, line breaks and pauses, rhythm and melody, imagery, and recitation. Written by means of one of many country's prime educators, A Grain of Poetry is a complete and obtainable advisor for all poets, scholars, and poetry fanatics.

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Extra info for A Grain of Poetry: How to Read Contemporary Poems and Make Them A Part of Your Life

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72 A Grain of Poetry Rhythm and Melody 73 Read them aloud. Now try reading the same words aloud from this score: Crippled with desire, he questioned it. Evening upon the heights, juice of the pome~ranate: who could connect it with sunlight? Or: Crippled with desire, he questioned it. Evening upon the heights, juice of the pomegranate: who could connect it with sunlighe Etc. The intonation, the ups and downs of the voice, involuntarily changes as the rhythm (altered by the place where the tiny pause or musical "rest" takes place) changes.

It is as if the poet were providing the reader not merely with a written text, but with a musical score to decipher, read once, read again as the meaning sinks in, and then sing or read aloud. The rereading of a poem is part of the act of reading it and perhaps essential to internalizing and coming to love it. However, I admit that not all poems bear up upon rereading, nor do all of them tempt a second, much less a third and fourth read­ ing. It is a matter of taste and emotion, of what moves you enough to make the effort to mine a poem for the riches it might contain.

When he came back, he shot, and he fell, stumbling, past the shadow wood, down, shot, dying, dead, to full halt. At the bottom, bleeding, shot dead. He died then, there after the fall, the speeding bullet, tore his face and blood sprayed fine over the killer and the grey light. Pictures of the dead man are everywhere. And his spirit sucks up the light. But he died in darkness darker than his soul and everything tumbled blindly with him dying down the stairs. We have no word on the killer, except he came back, from somewhere to do what he did.

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