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Reading Poetry, Writing Genre by Silvio Bär,Emily Hauser (Fiction writer) Pdf
"This volume connects the situatedness of genre in English poetry with developments in classical scholarship, exploring how an emphasis on the interaction between English literary criticism and Classics changes, sharpens, or perhaps even obstructs views on genre in English poetry. 'Genre' has classical roots: both in the etymology of the word and in the history of genre criticism, which begins with Aristotle. In a similar vein, recent developments in genre studies have suggested that literary genres are not given or fixed entities, but subjective and unstable (as well as historically situated), and that the reception of genre by both writers and scholars feeds back into the way genre is articulated in specific literary works. Classical scholarship, literary criticism, and genre form a triangle of key concepts for the volume, approached in different ways and with different productive results by contributors from across the disciplines of Classics and English literature. Covering topics from the establishment of genre in the Middle Ages to the invention of female epic and the epyllion, and bringing together the works of English poets from Milton to Tennyson to Josephine Balmer, the essays collected here argue that the reception and criticism of classical texts play a crucial part in generic formation in English poetry"--
Reading Poetry, Writing Genre by Silvio Bär,Emily Hauser Pdf
This ground-breaking volume connects the situatedness of genre in English poetry with developments in classical scholarship, exploring how an emphasis on the interaction between English literary criticism and Classics changes, sharpens, or perhaps even obstructs views on genre in English poetry. “Genre” has classical roots: both in the etymology of the word and in the history of genre criticism, which begins with Aristotle. In a similar vein, recent developments in genre studies have suggested that literary genres are not given or fixed entities, but subjective and unstable (as well as historically situated), and that the reception of genre by both writers and scholars feeds back into the way genre is articulated in specific literary works. Classical scholarship, literary criticism, and genre form a triangle of key concepts for the volume, approached in different ways and with different productive results by contributors from across the disciplines of Classics and English literature. Covering topics from the establishment of genre in the Middle Ages to the invention of female epic and the epyllion, and bringing together the works of English poets from Milton to Tennyson to Josephine Balmer, the essays collected hereargue that the reception and criticism of classical texts play a crucial part in generic formation in English poetry.
Reading Poetry offers a comprehensive and accessible guide to the art of reading poetry. Discussing more than 200 poems by more than 100 writers, ranging from ancient Greece and China to the twenty-first century, the book introduces readers to the skills and the critical and theoretical awareness that enable them to read poetry with enjoyment and insight. This third edition has been significantly updated in response to current developments in poetry and poetic criticism, and includes many new examples and exercises, new chapters on ‘world poetry’ and ‘eco-poetry’, and a greater emphasis throughout on American poetry, including the impact traditional Chinese poetry has had on modern American poetry. The seventeen carefully staged chapters constitute a complete apprenticeship in reading poetry, leading readers from specific features of form and figurative language to larger concerns with genre, intertextuality, Caribbean poetry, world poetry, and the role poetry can play in response to the ecological crisis. The workshop exercises at the end of each chapter, together with an extensive glossary of poetic and critical terms, and the number and range of poems analysed and discussed – 122 of which are quoted in full – make Reading Poetry suitable for individual study or as a comprehensive, self-contained textbook for university and college classes.
From a Daughter’s Perspective Once I learned that this book was being dedicated to me, I insisted that I have something to say about the author, my dad. I would like to introduce his work simply by way of experience and by what I feel has contributed to its making. I am an avid dance person and he has always referred to me as his “poetry in motion,” a well-known phrase for dance, but I had never really read much of his poetry until lately. He was not very open with his writings because he thought his children would not be interested. He would often use phrases that seemed to have a poetic flare. That, to me, was just dad’s way. He would sometimes say a line and then stop and take note of your reaction. This was what he termed as a “hang line.” I later saw these lines in his poems with the dot, dot, dot at the ends. I later learned that dad had his own theory about poetry writing and was not easily taken to trends or reading the works of others who would be looked upon as setting the standard. In his own way, he was insistent with some degree or order or structure citing that it makes poetry more readable and understandable. He totally rejected the idea that structure hinders the creative process but saw it as a tool to preserve it. I remember how displeased he was when I used a stanza of verse that he had helped me with to do an “on stage response” during a pageant. The response was marked down because it was too structured. With dad, poetry was not only dance but it was also music as well. He once related to me how the mechanics of music and poetry paralleled. I’ve concluded that his “theory of poetry writing” relates to his current teaching background as a math professor and his former physics teaching background, especially as I remember the way he tutored me when I was pursing my engineering degree. He perceived that poetry has volume and pitch that is controlled by use of stanza, line-length, and other structural devices that need to be worked with just as music. Rhyme gives a sense of rhythm to poetry as beat does to music. This is the “body and soul connection,” he would say. “I don’t like the trend in avoiding rhyme.” With this insistence comes POETRHYME, a work totally dedicated to rhyme in whatever he experienced. In his way of writing poetry, he was always kindred to nature, a partaker of love, a friend of wisdom, a caretaker of gardens and vineyards that always captured his smiles and personification in a most practical and simple style. Courtney Dockery
How to Read (and Write About) Poetry – Second Edition by Susan Holbrook Pdf
How to Read (and Write About) Poetry invites students and others curious about poetry to join the critical conversation about a genre many find a little mystifying, even intimidating. In an accessible, engaging manner, this book introduces the productive questions, reading strategies, literary terms, and secondary research tips that will empower readers to participate in literary analysis. Holbrook explicates a number of poems, initiating readers into critical discourse while highlighting key poetic terms. The explications are followed by selections of related works, so the book thus offers what amounts to a brief anthology, ideal for a poetry unit or introductory class on poetry and poetics. A chapter on meter illuminates the rhythmic dimension of poetry and guides readers through methods of scansion. The second edition is updated throughout and includes a fresh selection of poems and the latest MLA citation guidance.
Children's writer and poet Amy Ludwig VanDerwater leads us on an adventure through poetry, pointing out craft elements along the way that students can use to improve all their writing, from idea finding to language play. "Poems wake us up, keep us company, and remind us that our world is big and small," Amy explains. "And, too, poems teach us how to write. Anything." This is a practical book designed for every classroom teacher. Each lesson exploration includes three poems, one by a contemporary adult poet and two by students in grades 2 through 8, which serve as models to illustrate how poetry teaches writers to: find ideas, choose perspective and point of view, structure texts, play with language, craft beginnings and endings, choose titles. Students will learn how to replicate the craft techniques found in poetry to strengthen all writing, from fiction to opinion, from personal narrative to information. "Poets arrange words and phrases just as prose writers do, simply in tighter spaces," Amy argues. "In the tight space of poetry, readers can identify writing techniques after reading one page, not thirty pages."
From the winner of the Bollingen Prize in poetry and author of the classic bestseller "Rose, Where Did You Get That Red?" comes a unique, highly entertaining book for anyone who wants to be a better reader and writer of poetry.
Impatient with the constraints put on her as an aristocratic girl living in Korea during the seventeenth century, twelve-year-old Jade Blossom determines to see beyond her small world.
An award-winning poet offers a brilliant introduction to the joys--and challenges--of the genre In Don't Read Poetry, award-winning poet and literary critic Stephanie Burt offers an accessible introduction to the seemingly daunting task of reading, understanding, and appreciating poetry. Burt dispels preconceptions about poetry and explains how poems speak to one another--and how they can speak to our lives. She shows readers how to find more poems once they have some poems they like, and how to connect the poetry of the past to the poetry of the present. Burt moves seamlessly from Shakespeare and other classics to the contemporary poetry circulated on Tumblr and Twitter. She challenges the assumptions that many of us make about "poetry," whether we think we like it or think we don't, in order to help us cherish--and distinguish among--individual poems. A masterful guide to a sometimes confounding genre, Don't Read Poetry will instruct and delight ingénues and cognoscenti alike.
In her entertaining and edifying New York Times bestseller, acclaimed author Francine Prose invites you to sit by her side and take a guided tour of the tools and tricks of the masters to discover why their work has endured. Written with passion, humour and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart – to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; to look to John le Carré for a lesson in how to advance plot through dialogue and to Flannery O’ Connor for the cunning use of the telling detail; to be inspired by Emily Brontë ’ s structural nuance and Charles Dickens’ s deceptively simple narrative techniques. Most importantly, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted, and reminds us that good writing comes out of good reading.
Tapestry Poetry by Shernaz Wadia,Avril Meallem Pdf
What is Tapestry Poetry? An innovative, exciting and challenging new genre of collaborative poetry writing, aptly described as 'the ambrosia of poetry' and 'the fusion music of lovely lyrical sounds' that provides a new appreciation and experience of the sheer joy of poetry reading."Tapestry Poetry" was developed by Avril Meallem, living in Israel, in partnership with Shernaz Wadia, living in India. Using email as their means of communication, they weave together the variegated threads of two eight line poems - one from each of them on a title chosen by one of them - into an eighteen line poem of vivid imagery and design that can stand by itself. It is truly amazing as to how the two poets from such different cultures are able to think independently and then find a common ground for weaving their 'Tapestries'. A diversity of themes − universal peace & harmony, social injustice, gender discrimination, freedom, beauty of nature, the power of self − are covered, etching out a philosophy of life that is at once deep, meaningful and profound, yet easily understood. How "Tapestry Poetry" works and the basic rules formulated by Avril and Shernaz have been clearly outlined in this book, thus giving the reader a fuller understanding of the weaving process and for those interested in experimenting in writing with this genre the opportunity to embark on an exciting poetic journey.
The Novel Cure by Ella Berthoud,Susan Elderkin Pdf
A novel is a story, a collection of experiences transmitted from the mind of one to the mind of another. It offers a way to unwind, a way to focus, a way to learn about life—distraction, entertainment, and diversion. But it can also be something much more powerful. When read at the right time in your life, a novel can—quite literally—change it. The Novel Cure is a reminder of that power. To create this apothecary, the authors have trawled through two thousand years of literature for the most brilliant minds and engrossing reads. Structured like a reference book, it allows readers to simply look up their ailment, whether it be agoraphobia, boredom, or midlife crisis, then they are given the name of a novel to read as the antidote.
"[A] thoughtful and lucid tale of love, companionship, and heartbreaking illness." —Lydia Davis In 2004 Rachel Hadas's husband, George Edwards, a composer and professor of music at Columbia University, was diagnosed with early-onset dementia at the age of sixty-one. Strange Relation is her account of "losing" George. Her narrative begins when George's illness can no longer be ignored, and ends in 2008 soon after his move to a dementia facility (when, after thirty years of marriage, she finds herself no longer living with her husband). Within the cloudy confines of those difficult years, years when reading and writing were an essential part of what kept her going, she "tried to keep track…tried to tell the truth." "If only all doctors and nurses and social workers who care for the chronically ill could read this book. If only patients and family members stricken with such losses could receive what this book can give them. While Strange Relation relates one illness and the life of one family, it is also, poetically, about all illnesses, all families, all struggles, all living. The art achieves the dual life of the universal and the particular, marking it as timeless, making it for us all necessary."—Rita Charon, MD, PhD, Program in Narrative Medicine, Columbia University "Rachel Hadas's own wonderfully resonant poems, along with the rich collection of verse and prose by other writers that she weaves into her story, clarify and illuminate over and over again this thoughtful and lucid tale of love, companionship, and heartbreaking illness—illness that, as she shows us so well, is at once frighteningly alien and also deeply a part of our unavoidable vulnerability as mortal beings. Beautifully written, totally engrossing, and very sad."—Lydia Davis "Strange Relation is a deeply moving, deeply personal, beautifully written exploration of how the power of grief can be met with the power of literature, and how solace can be found in the space between them."—Frank Huyler "A poignant memoir of love, creativity and human vulnerability. Rachel Hadas brings a poet's incisive eye to the labyrinth of dementia."—Danielle Ofri, MD, PhD, author of Medicine in Translation and Singular Intimacies "Like an elegy, Strange Relation is about loss and grief. Like all elegies, it also memorializes and celebrates. Rachel Hadas, in the course of her personal narrative, cites accounts of dementia, in its social and personal meanings."—Robert Pinsky "Brilliant and tough-minded, poignant but clear-headed, Rachel Hadas shines a steady light on her experience as the wife of an accomplished composer who, at a comparatively early age, descended into dementia. Strange Relation never sacrifices truth for easy answers. Instead, Hadas uses literature to chart a course through wrenching complexities. This lauded and exceptional poet shows how language itself, the very thing her husband loses, became her shield as she crossed the ravaged lands of decision-making, making new discoveries, new friends, and new sense of the world. Strange Relation snaps with bravery, intelligence, and Hadas' tart, candid wisdom."—Molly Peacock "Strange Relation is a beautifully written and piercingly honest account of life with a brilliant man as he descends into dementia, in his sixties."—Reeve Lindbergh
Janet Burroway's bestselling Imaginative Writng: The Elements of Craft explores the craft of creative writing in four genres: Fiction, Poetry, Drama, and Creative Nonfiction. A trade author as well as a professor of creative writing, Burroway brings her years of teaching and writing to this book. "Try-This" exercises appear throughout each chapter. Provocative and fun, these exercises help writers develop the specific writing skills discussed within the text. "Working toward a draft" exercises encourage writers to develop their ideas into complete drafts. In response to reviewer requests, the preface "Invitation to the Writer" has been expanded into a full chapter. This new chapter introduces writers to important skills such as reading like a writer, journaling, and participating in the writer's workshop. This book offers lots of ideas and encouragement at a great price!
