By Emily Rosko, Anton Vander Zee
In the sector of poetry and poetics over the last century, no concept has been extra alive and contentious than the assumption of shape, and no point of shape has extra emphatically subsidized this marked formal predicament 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 realm of poetry, but additionally a long way out into the realm at huge: its humans, its politics, its ecology. The authors integrated right here, rising and tested alike, write from quite a number views, when it comes to either aesthetics and id. jointly, they provide a dynamic hybrid assortment that captures a wide spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s advent deals a beneficiant assessment of conversations concerning the line from the Romantics ahead. We come to determine how the road may be an engine for beliefs of progress—political, moral, or differently. For a few poets, the road touches upon the main primary questions of information and life. greater than ever, the road is the unconventional opposed to which even trade and rising poetic kinds that foreground the visible or the auditory, the web page or the display, will be amazing and understood. From the beginning, a novel lesson emerges: traces don't shape that means completely of their brevity or their size, of their turning into or their brokenness; traces stay in and during the descriptions we provide them. certainly, the background of yankee poetry within the 20th century may be informed by means of the compounding, and sometimes confounding, discussions of its traces. A damaged factor either displays upon and extends this heritage, charting a wealthy diffusion of conception and perform into the twenty-first century with the main diversified, wide-ranging and fascinating set of essays to this point at the line in poetry, revealing how poems paintings and why poetry keeps to subject.
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Additional resources for A Broken Thing: Poets on the Line
New York: Thames & Hudson, 2000. Creeley, Robert. The Collected Poems of Robert Creeley, 1945–1975. Berkeley: University of California Press, 1982. Cushman, Stephen. Fictions of Form in American Poetry. Princeton, NJ: Princeton University Press, 1993. Dodd, Wayne, ed. ” Special issue, Ohio Review 28 (1982). Dorn, Ed. ” Talking Poetics from Naropa Institute. Ed. Anne Waldman and Marilyn Webb. Boulder: Taylor and Francis, 1978. 83–97. DuPlessis, Rachel Blau. Blue Studios: Poetry and Its Cultural Work.
Take half. ” Looking at these end words, the poem seems even more exploded or destroyed. This later version has a more intense tonal emptiness, and the line-break after the word “turning” suggests a kind of ironic self-consciousness about the prose poem form (that turns with or without an intentional turning), which I had in fact not originally intended. When I was composing the poem, pushing against and through the one-inch margins helped me to write its ending. The weight of the previous lines seemed to bear down on the poem’s closure.
Molly Peacock puts pressure on the middle of lines as a place to delicately fold in rhyme. Annie Finch, who has previously pursued T. S. Eliot’s notion that one might discover the metrical code, the ghost of meter, in free verse, foregoes the dug-in defensiveness of New Formalist polemics as she argues for the presence of something like a line-break after each poetic foot. Tellingly, even though she sardonically reflects on how the line has too often become the lone tool for free-verse poets, she defines her sense of metrics not against, but in positive relation to, that dominant facet of the free-verse line.