By Emily Rosko, Anton Vander Zee
In the sector of poetry and poetics over the last century, no thought has been extra alive and contentious than the assumption of shape, and no point of shape has extra emphatically subsidized this marked formal trouble 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 some distance out into the realm at huge: its humans, its politics, its ecology. The authors incorporated the following, rising and validated alike, write from various views, when it comes to either aesthetics and identification. jointly, they give a dynamic hybrid assortment that captures a large spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s advent deals a beneficiant evaluate of conversations concerning the line from the Romantics ahead. We come to work out how the road could be an engine for beliefs of progress—political, moral, or differently. 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 trade and rising poetic varieties that foreground the visible or the auditory, the web page or the display, will be unusual and understood. From the beginning, a unique lesson emerges: traces don't shape which means exclusively of their brevity or their size, of their changing into or their brokenness; strains dwell in and during the descriptions we provide them. certainly, the heritage of yankee poetry within the 20th century can be instructed by way of the compounding, and sometimes confounding, discussions of its strains. A damaged factor either displays upon and extends this background, charting a wealthy diffusion of conception and perform into the twenty-first century with the main assorted, wide-ranging and fascinating set of essays up to now at the line in poetry, revealing how poems paintings and why poetry keeps to subject.
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Additional info for A Broken Thing: Poets on the Line
Wesling, Donald. ” The New Princeton Encyclopedia of Poetry and Poetics. 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.
The Line in Postmodern Poetry. Urbana: University of Illinois Press, 1988. Friebert, Stuart, David Walker, and David Young, eds. A Field Guide to Contemporary Poetry and Poetics. 1980. Revised, Oberlin, OH: Oberlin College Press, 1997. Fulton, Alice. Feeling as a Foreign Language: The Good Strangeness of Poetry. Saint Paul, MN: Graywolf Press, 1999. Grossman, Allen. The Sighted Singer: Two Works on Poetry for Readers and Writers. Baltimore: Johns Hopkins University Press, 1992. Hall, Donald, ed.
The line against the larger wealth of the sentence,” she writes, “is a rebel thing which undercuts order. ” Sarah Kennedy supplies us with a more visceral image that we might keep in mind when considering the line’s critical, even violent, energy. ” For many others, however, it is not this more pointed danger, but how the line holds us close in its cadence, how the line shades into music. “Whether we attend to the fact or not,” Tim Seibles begins, “poetry has deep roots in song. ” Whether we view the line as a marker of subversive, even dangerous, power or as the pure pulse of poetic song, as a matter of technical mastery or as an invitation to philosophical and social reflection, these essays as a whole remain interested in the grounding question of how and why poets do or do not break lines.