By Erik Martiny
A better half to Poetic style brings jointly over forty contributions from top lecturers to supply severe overviews of poetic genres and their glossy diversifications. Covers a wide variety of poetic cultural traditions from Britain, eire, North the United States, Japan and the CaribbeaSummarises many genres from their earliest origins to their most up-to-date renderingsThe purely full-length serious assortment to house sleek diversifications of poetic genresContributors contain Bernard O’Donoghue, Stephen Burt, Jahan Ramazani, and plenty of different remarkable students of poetry and poetics
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Additional resources for A Companion to Poetic Genre
Beauty is momentary in the mind. The curfew tolls the knell of parting day. If Winter comes, can Spring be far away? 1–4) If mortality forms English-language poetry’s great subject, iambic pentameter serves as its great meter. Some new formalists explain this status on the basis of the meter’s “naturalness,” with occasionally outlandish theories that range from the biological to the linguistic. In response, Annie Finch has proposed non-iambic meters as an “aesthetic, emotional, and ideological alternative to iambic pentameter” (117).
With a similar attention to the details of contemporary scene, sonnets by Rafael Campo, Marilyn Hacker, Kate Light, and Rachel Wetzsteon depict the vicissitudes of modern dating, gay and straight, mixing techniques from, among other sources, screwball comedy, feminist theory, queer studies, light verse, and pop culture. 8–9) introduce a touch of local color as a background to the poem’s true subject, a jazz saxophonist, a figure of noble dignity. In the next generation of metrical verse, “punk teens” do not “drift past”; they claim center stage.
Well, just now He galloped his thunder-cart and his horses Across a clear blue sky. It shook the earth And clogged underearth, the River Styx, The winding streams, the Atlantic shore itself. 1–7) The “just now” of Horace’s poem (“nunc”) is renewed, doubling as the now of the ancient past and the now of the immediate present, unlike the singular “now” of the news. To reiterate and adapt Benjamin, poetry “does not expend itself. ” Heaney’s poem evidences poetry’s delayed-release capacity by reawakening an ancient poem, highlighting its surprisingly strong resonances with the contemporary (the cloudless sky, the shaking earth, the rivers and shore, the inversions of fortune).