Who reads poetry? We know that poets do, but what about the rest of us? When and why do we turn to verse? Seeking the answer, Poetry magazine since 2005 has published a column called “The View From Here,” which has invited readers “from outside the world of poetry” to describe what has drawn them to poetry. Over the years, the incredibly diverse set of contributors have included philosophers, journalists, musicians, and artists, as well as doctors and soldiers, an iron-worker, an anthropologist, and an economist. This collection brings together fifty compelling pieces, which are in turns surprising, provocative, touching, and funny. In one essay, musician Neko Case calls poetry “a ...
An anthology designed for the enjoyment and instruction of students from junior-secondary school onwards. The poems focus on aspects central to African life and culture: lover, identity, death, village life, separation, power and freedom. Guidance for teachers is included.
Poetry is philosophically interesting, writes Gerald L. Bruns, "when it is innovative not just in its practices, but, before everything else, in its poetics (that is, in its concepts or theories of itself)." In The Material of Poetry, Bruns considers the possibility that anything, under certain conditions, may be made to count as a poem. By spelling out such enabling conditions he gives us an engaging overview of some of the kinds of contemporary poetry that challenge our notions of what language is: sound poetry, visual or concrete poetry, and "found" poetry. Poetry's sense and meaning can hide in the spaces in which it is written and read, says Bruns, and so he urges us to become anthropol...
Far from frivolous playthings, modern visual poems represent serious experiments. Together with other members of the avant-grade, the visual poets sought to restructure the basic vision of reality that they inherited from their predecessors. This statement describes contemporary visual poets as well who, like their earlier colleagues, strive to say things that are more meaningful in ways that are more meaningful."--BOOK JACKET.
Ford (classics, Princeton U.) addresses the perennial questions of what poetry is, how it came to be, and what it is for. Focusing on the critical moment in Western literature when the heroic tales of the Greek oral tradition began to be preserved in writing, he examines these questions in the light of Homeric poetry. Annotation copyrighted by Book News, Inc., Portland, OR
Of the peoples of ancient Italy, only the Romans committed newly composed poems to writing, and for about 250 years Latin-speakers developed an impressive verse literature. The language had traditional resources of high style, e.g. alliteration, lexical and morphological archaism or grecism, and of course metaphor and word-order; and there were also less obvious resources in the technical vocabularies of law, philosophy, and medicine. The essays in this volume show how the poets in the classical period combined these elements, and so created a poetic medium that could comprehend satire, invective, erotic elegy, drama, lyric, and the grandest heroic epics. These wide-ranging studies will be essential reading for all students of Latin.
Xhosa oral poetry has defied the threats to its integrity over two centuries, to take its place in a free South Africa. This volume establishes the background to this poetic re-emergence, preserving and transmitting the voice of the Xhosa poet.