By Emily Rosko, Anton Vander Zee
In the world of poetry and poetics during the last century, no concept has been extra alive and contentious than the assumption of shape, and no element 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 supplies seventy unique solutions that lead us deeper into the area of poetry, but in addition a ways out into the realm at huge: its humans, its politics, its ecology. The authors incorporated the following, rising and confirmed alike, write from a variety of views, by way of 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 creation bargains a beneficiant assessment 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 in a different way. For a few poets, the road touches upon the main basic questions of data and life. greater than ever, the road is the unconventional opposed to which even trade and rising poetic types 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 that means completely of their brevity or their size, of their turning into or their brokenness; strains reside in and during the descriptions we supply them. certainly, the historical past of yankee poetry within the 20th century might be instructed via the compounding, and infrequently confounding, discussions of its strains. A damaged factor either displays upon and extends this heritage, charting a wealthy diffusion of thought and perform into the twenty-first century with the main various, wide-ranging and interesting set of essays up to now at the line in poetry, revealing how poems paintings and why poetry keeps to topic.
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Additional resources for A Broken Thing: Poets on the Line
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. 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.
M appi ng t h e line Emily Rosko We have such lines here—to name a few: lines of sight and lines of thought; the line as musical and textual scoring, as voicing and orality; the line as genealogy and elegy; materialities of the line, both in the world and in cyberspace. ” Needless to say, it is difficult adequately to survey the essays included here, which represent a diversity of practice and a historical arc that take us, quite literally, from Hammurabi’s Code to hypertext and Twitter. The attempt that follows remains a knowingly partial gloss, what Robert Creeley might call a quick graph.
Such vitriol makes one wonder whether his gracious pastoral coda voices his earnest hope or his own cynically deferred dream. ” Voicing a strained hope that the poetic and the political might be integrally related, her essay demands much of us as line-makers and line-readers, but even more as human beings straddling a fraught border. 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.
A Broken Thing: Poets on the Line by Emily Rosko, Anton Vander Zee