By Emily Rosko, Anton Vander Zee
In the sector of poetry and poetics during the last century, no inspiration has been extra alive and contentious than the belief of shape, and no point of shape has extra emphatically subsidized this marked formal obstacle 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 in addition a ways out into the realm at huge: its humans, its politics, its ecology. The authors incorporated right here, rising and confirmed alike, write from a number views, when it comes to either aesthetics and identification. jointly, they give a dynamic hybrid assortment that captures a huge spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s creation bargains a beneficiant evaluate of conversations concerning the line from the Romantics ahead. We come to work out 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 data and life. greater than ever, the road is the unconventional opposed to which even exchange and rising poetic kinds that foreground the visible or the auditory, the web page or the monitor, could be distinctive and understood. From the beginning, a novel lesson emerges: strains don't shape which means exclusively of their brevity or their size, of their changing into or their brokenness; traces stay in and during the descriptions we provide them. certainly, the background of yank poetry within the 20th century will be advised through the compounding, and infrequently confounding, discussions of its traces. A damaged factor either displays upon and extends this historical past, charting a wealthy diffusion of concept and perform into the twenty-first century with the main assorted, wide-ranging and fascinating set of essays so far at the line in poetry, revealing how poems paintings and why poetry maintains to topic.
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Additional resources for A Broken Thing: Poets on the Line
Flet. Flatten me with your mad flit. Your fast tying hands. All odd angles and eminent collapse. Now on our knees. Now bowing. Please, kiss my littlest one. A video found in a bunker underground. I once was a night. Once nightly news. See the vultures and gnats flock to our shivering. Food’s necessity on me—like a Claw—. A gathering of wingly things so all you see is weather. Turning iridescent. Turning black. The kingdom of the body blown to ash. Buttons of us left in the sun. The crown and the teeth.
Graham, Jorie. Swarm. Hopewell, NJ: Ecco Press, 2001. Palmer, Michael. Codes Appearing: Poems 1979–1988. New York: New Directions, 1988. Shaw, Anne. Twitter. com/anneshaw>. ”1 1. First: the line can be an obstacle, a straightening barrier to experience’s full efflorescence. Lines linear outline, a faux transparency of truth in packaging: clear boundaries’ effect, its damper on our freedom of apprehension (prior to judgment), so we notice the package from its perimeter, or mistake the insides for the lining, as lines propose or valorize a consistency, an evenness, those seemingly internal contours which end up packaging the insides so that they can react or point or be subordinated, as a homogenized unit, to what’s outside.
Hall, Donald, ed. Claims for Poetry. Ann Arbor: University of Michigan Press, 1982. 32 | Introduction ———. ” In Friebert, A Field Guide, 88–90. Holscher, Rory, and Robert Schultz, eds. ” Epoch 29 (Winter 1980): 161–224. Levertov, Denise. New and Selected Essays. New York: New Directions, 1992. Longenbach, James. The Art of the Poetic Line. St. Paul, MN: Graywolf Press, 2008. McGurl, Mark. The Program Era: Postwar Fiction and the Rise of Creative Writing. Cambridge: Harvard University Press, 2009.