By Emily Rosko, Anton Vander Zee
In the sector of poetry and poetics over the last century, no suggestion has been extra alive and contentious than the belief of shape, and no element of shape has extra emphatically subsidized this marked formal situation than the road. yet what, precisely, is the road? Emily Rosko and Anton Vander Zee’s anthology provides seventy unique solutions that lead us deeper into the realm of poetry, but additionally some distance out into the realm at huge: its humans, its politics, its ecology. The authors integrated the following, rising and verified alike, write from a number views, when it comes to either aesthetics and id. jointly, they provide a dynamic hybrid assortment that captures a vast spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s creation deals a beneficiant evaluation of conversations concerning the line from the Romantics ahead. We come to work out how the road should be an engine for beliefs of progress—political, moral, or differently. For a few poets, the road touches upon the main basic questions of information and life. greater than ever, the road is the unconventional opposed to which even exchange and rising poetic varieties that foreground the visible or the auditory, the web page or the monitor, could be distinct and understood. From the beginning, a novel lesson emerges: traces don't shape that means completely of their brevity or their size, of their changing into or their brokenness; strains reside in and during the descriptions we supply them. certainly, the background of yankee poetry within the 20th century can be advised by means of the compounding, and infrequently 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 varied, wide-ranging and interesting set of essays so far at the line in poetry, revealing how poems paintings and why poetry keeps to subject.
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Extra resources for A Broken Thing: Poets on the Line
Confronting a very different sort of material reality, a few notable entries here interrogate how the page imposes limits to the poetic line. Hadara BarNadav raises the question of whether a prose poem has line-breaks—breaks that are determined by page size and formatting, such that a prose poem in one venue offers radically different meanings than it might in another where more generous margins alter the arbitrarily encoded endings. Rachel Zucker forces a different understanding of what we mean by the economy of the line when she discusses how she decided to pay a press so that her poems could appear in a wide-trim book size that could accommodate her long lines.
John. New York: W. W. Norton, 2009. 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.
In other words a poem doesn’t have to be a transmission from mouth to ear or page to mind but can be a place in which things actually happen. ” It ought to be able to do more, be more, transcend the pedantic definition of language as a carrier of discursive meaning and by its motion enable the mind to follow and have an understanding that is past intellectual and enters conceptual. In my work I don’t seek to move from beginning to end of a certain poem. Such predetermined motion is meant for paragraphs and stanzas.
A Broken Thing: Poets on the Line by Emily Rosko, Anton Vander Zee