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How Poems Think
by Reginald GibbonsTo write or read a poem is often to think in distinctively poetic ways—guided by metaphors, sound, rhythms, associative movement, and more. Poetry’s stance toward language creates a particular intelligence of thought and feeling, a compressed articulation that expands inner experience, imagining with words what cannot always be imagined without them. Through translation, poetry has diversified poetic traditions, and some of poetry’s ways of thinking begin in the ancient world and remain potent even now. In How Poems Think, Reginald Gibbons presents a rich gallery of poetic inventiveness and continuity drawn from a wide range of poets—Sappho, Pindar, Shakespeare, Keats, William Carlos Williams, Marina Tsvetaeva, Gwendolyn Brooks, and many others. Gibbons explores poetic temperament, rhyme, metonymy, etymology, and other elements of poetry as modes of thinking and feeling. In celebration and homage, Gibbons attunes us to the possibilities of poetic thinking.
How Poems Think
by Reginald GibbonsTo write or read a poem is often to think in distinctively poetic ways—guided by metaphors, sound, rhythms, associative movement, and more. Poetry’s stance toward language creates a particular intelligence of thought and feeling, a compressed articulation that expands inner experience, imagining with words what cannot always be imagined without them. Through translation, poetry has diversified poetic traditions, and some of poetry’s ways of thinking begin in the ancient world and remain potent even now. In How Poems Think, Reginald Gibbons presents a rich gallery of poetic inventiveness and continuity drawn from a wide range of poets—Sappho, Pindar, Shakespeare, Keats, William Carlos Williams, Marina Tsvetaeva, Gwendolyn Brooks, and many others. Gibbons explores poetic temperament, rhyme, metonymy, etymology, and other elements of poetry as modes of thinking and feeling. In celebration and homage, Gibbons attunes us to the possibilities of poetic thinking.
How Poems Think
by Reginald GibbonsTo write or read a poem is often to think in distinctively poetic ways—guided by metaphors, sound, rhythms, associative movement, and more. Poetry’s stance toward language creates a particular intelligence of thought and feeling, a compressed articulation that expands inner experience, imagining with words what cannot always be imagined without them. Through translation, poetry has diversified poetic traditions, and some of poetry’s ways of thinking begin in the ancient world and remain potent even now. In How Poems Think, Reginald Gibbons presents a rich gallery of poetic inventiveness and continuity drawn from a wide range of poets—Sappho, Pindar, Shakespeare, Keats, William Carlos Williams, Marina Tsvetaeva, Gwendolyn Brooks, and many others. Gibbons explores poetic temperament, rhyme, metonymy, etymology, and other elements of poetry as modes of thinking and feeling. In celebration and homage, Gibbons attunes us to the possibilities of poetic thinking.
How Poems Think
by Reginald GibbonsTo write or read a poem is often to think in distinctively poetic ways—guided by metaphors, sound, rhythms, associative movement, and more. Poetry’s stance toward language creates a particular intelligence of thought and feeling, a compressed articulation that expands inner experience, imagining with words what cannot always be imagined without them. Through translation, poetry has diversified poetic traditions, and some of poetry’s ways of thinking begin in the ancient world and remain potent even now. In How Poems Think, Reginald Gibbons presents a rich gallery of poetic inventiveness and continuity drawn from a wide range of poets—Sappho, Pindar, Shakespeare, Keats, William Carlos Williams, Marina Tsvetaeva, Gwendolyn Brooks, and many others. Gibbons explores poetic temperament, rhyme, metonymy, etymology, and other elements of poetry as modes of thinking and feeling. In celebration and homage, Gibbons attunes us to the possibilities of poetic thinking.
How Poetry Works: The Elements Of English Poetry (PDF)
by Philip Davies RobertsIn this refreshing and inspiring book, Phil Roberts asserts that poetry, like music, is based on sound and so close attention should be paid to its rhythms and metrical patterns. He illustrates his points with lively examples ranging from nursery rhymes and limericks to recent experimental forms as well as familiar pieces from over the centuries. The book concludes with a Millennium Anthology, a salute to the poetry of the past thousand years, including pieces from England, Ireland, Scotland and Wales, as well as Australia, Canada, New Zealand and the USA.
How Poets See the World: The Art of Description in Contemporary Poetry
by Willard SpiegelmanAlthough readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations. This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.
How Snow Falls: Poems
by Craig RaineIn his first poetry collection for a decade, Craig Raine addresses themes of transformation in human nature and the natural world and confronts the quiddities of death and sex, memory and desire, commemoration and love. At the core of How Snow Falls are four long poems that explore the possibilities of the form; there are two ardent elegies, one for the poet's mother and one for a dead lover; a sparkling reworking of Ryunosuke Akutagawa's story In a Grove; last a 'film-poem', High Table. These poems are sometimes joyous, often moving, and always turn an unflinching gaze on the world.Taken together, this collection reawakens us to forgotten worlds and gives voice to the hidden language of existence. As Raine writes in 'Night': 'don't give way to drowsiness, poet. / You are the pledge we give eternity / and so the slave of every second.'
How the Qur'=an Works: Reading Sacred Narrative
by Leyla Ozgur AlhassenThe Qur'an is a text of extraordinary depth and complexity. In How the Qur'an Works, Leyla Ozgur Alhassen takes the reader on a journey through the Qur'an, moving from one verse to another, one story to another, focusing on narratological elements while conducting a close reading in order to understand particular Qur'anic stories and to show how the text's literary techniques enhance its theological agenda. She unpacks the text by focusing on Qur'anic narrative, and specifically, repetition in Qur'anic stories. Repetition is an important part of the Qur'an's literary technique. Ozgur Alhassen traces the use of repetition as a narrative device from the text's overall structure to individual letters. She compares different Qur'anic stories and explores the kinds of repetition that occur in them and what purposes they serve. Repetition, she shows, forges patterns, connections, and layers of meaning that develop, complicate, and comment on the Qur'an's messages.
How the Qur'=an Works: Reading Sacred Narrative
by Leyla Ozgur AlhassenThe Qur'an is a text of extraordinary depth and complexity. In How the Qur'an Works, Leyla Ozgur Alhassen takes the reader on a journey through the Qur'an, moving from one verse to another, one story to another, focusing on narratological elements while conducting a close reading in order to understand particular Qur'anic stories and to show how the text's literary techniques enhance its theological agenda. She unpacks the text by focusing on Qur'anic narrative, and specifically, repetition in Qur'anic stories. Repetition is an important part of the Qur'an's literary technique. Ozgur Alhassen traces the use of repetition as a narrative device from the text's overall structure to individual letters. She compares different Qur'anic stories and explores the kinds of repetition that occur in them and what purposes they serve. Repetition, she shows, forges patterns, connections, and layers of meaning that develop, complicate, and comment on the Qur'an's messages.
How to Be Happy Though Human: New and Selected Poems
by Kate CampA timely collection of new and previously published work by one of New Zealand’s most acclaimed poets, How to Be Happy Though Human introduces Kate Camp’s eclectic and musical poetry to international audiences for the first time.How to Be Happy Though Human: New and Selected Poems is Kate Camp’s seventh book of poetry and the first to be published outside New Zealand. Incorporating a grouping of new, previously unpublished work and a selection of important poems from her six earlier collections, this volume introduces North American readers to poetry that has been described by critics as “fearless,” “mesmerizing,” and “containing a surprising radicalism and power.”Camp’s work is recognized for its wide-ranging and eclectic subject matter, its technical control, and its musicality, with pop culture, high culture, the domestic confessional, close observation, and found language featured as recurring elements of style.A timely retrospective that represents a new chapter in Camp’s career, How to Be Happy Though Human promises to gain a wide readership for this thoughtful, engaging, and popular writer.
How to Do Things with Fictions
by Joshua LandyWhy does Mark's Jesus speak in parables? Why does Plato's Socrates make bad arguments? Why are Beckett's novels so inscrutable? And why don't stage magicians even pretend to summon spirits anymore? In a series of captivating chapters on Mark, Plato, Beckett, Mallarmé, and Chaucer, Joshua Landy not only answers these questions but explains why they are worth asking in the first place. Witty and approachable, How to Do Things with Fictions challenges the widespread assumption that literary texts must be informative or morally improving in order to be of any real benefit. It reveals that authors are sometimes best thought of not as entertainers or as educators but as personal trainers of the brain, putting their willing readers through exercises designed to fortify specific mental capacities, from form-giving to equanimity, from reason to faith. Delivering plenty of surprises along the way--that moral readings of literature can be positively dangerous; that the parables were deliberately designed to be misunderstood; that Plato knowingly sets his main character up for a fall; that metaphor is powerfully connected to religious faith; that we can sustain our beliefs even when we suspect them to be illusions--How to Do Things with Fictions convincingly shows that our best allies in the struggle for more rigorous thinking, deeper faith, richer experience, and greater peace of mind may well be the imaginative writings sitting on our shelves.
How to Enjoy Poetry (Little Ways to Live a Big Life)
by Frank Skinner'Someone recently said to me, in reference to my poetry podcast, that you'd think poetry would be more popular than ever, in the twenty-first century, because people don't have a lot of time and 'novels are often quite big while poems are often quite small'. I referred them to Doctor Who's Tardis.'Frank Skinner wants you to read more poetry. Wait, wait - don't stop reading. Whether you're a frequent poetry reader or haven't read any since sixth form, Frank's infectious passion for language, rhythm and metre will win you over and provide you with the basic tools you need to tackle any poem.In this short, easy-to-digest and delightful book, Frank guides us through the twists and turns of 'Pad, pad' by Stevie Smith, a short, seemingly simple poem that contains multitudes of meaning and a deceptive depth of emotion. Revel in the mastery of Stevie Smith's choice of words, consider the eternal mystery of the speaker of the poem and be moved by rhyming couplets like you never have before.Give it a go. You never know, you might even enjoy it.
How to Fly: (In Ten Thousand Easy Lessons)
by Barbara KingsolverThis edition gathers together the vibrant and various poems that Barbara Kingsolver has written throughout her life, revealing an intimate side to her creative practice as yet unseen. Almost resembling a Collected or Selected Poems, the book is divided into thematically linked sections: a series of 'How to' poems that smartly balance tongue-in-cheek guides with revelatory wisdom; a complicated family pilgrimage to Italy; cherished childhood memories; the perils and pleasures of being a [female] writer; elegies to lost loved ones; and elegies to the planet. Sharing the natural fluidity and compassionate humanity of her prose, this luminous collection of poetry will delight Kingsolver's devoted readership.
How to Grow a Dragon
by Rachel MorrisroeJoin Sarah and Mr Pottifer in their magical plant shop, where fantastical creatures grow from trees!A story that celebrates problem solving, kindness and resourcefulness. An unexpected delivery of dragodil seeds provides the perfect chance for Sarah and Mr Pottifer to grow helpful dragon pets for their customers - or does it? It turns out that these fiery dragons are not very well-behaved at all... and everything soon spirals into smoke-filled, out-of-control DRAGON CHAOS!Can Sarah's quick thinking and green fingers save the day?The second magical adventure from the author and illustrator of the bestselling How to Grow a Unicorn.
How to Grow a Unicorn
by Rachel MorrisroeA rollicking, rhyming read-aloud treat from wordsmith extraordinaire, debut author Rachel Morrisroe, and the ridiculously talented, bestselling Steven LentonWelcome to Mr Pottifer's Parlour of Plants: a magical shop with the most surprising plants you'll ever see!Sarah thinks she's discovered the perfect gift for her garden-loving grandma, but before you can say GARDEN FULL OF UNICORNS, things grow wildly out-of-hand! Live your own hilarious unicorn fantasy in this rip-roaring, rhyming delight from a terrifically talented new picture book author, with illustrations from the brilliant, bestselling illustrator Steven Lenton - illustrator of Shifty McGifty and The Hundred and One Dalmations picture book.
How to Grow Your Own Poem
by Kate ClanchyDo you want to write a poem? This book will show you ‘how to grow your own poem’ . . . Kate Clanchy has been teaching people to write poetry for more than twenty years. Some were old, some were young; some were fluent English speakers, some were not. None of them were confident to start with, but a surprising number went to win prizes and every one finished up with a poem they were proud of, a poem that only they could have written – their own poem.Kate’s big secret is a simple one: is to share other poems. She believes poetry is like singing or dancing and the best way to learn is to follow someone else. In this book, Kate shares the poems she has found provoke the richest responses, the exercises that help to shape those responses into new poems, and the advice that most often helps new writers build their own writing practice.If you have never written a poem before, this book will get you started. If you have written poems before, this book will help you to write more fluently and confidently, more as yourself. This book not like other creative writing books. It doesn’t ask you to set out on your own, but to join in. Your invitation is inside.
How to Love the World: Poems of Gratitude and Hope
by James CrewsThis beautifully curated selection of more than 100 uplifting poems of gratitude by well-known and emerging poets, including inaugural poet Amanda Gorman, Joy Harjo, Naomi Shihab Nye, Ross Gay, Tracy K. Smith, and more, invites gratefulness into daily life and includes opportunities for reflection and writing, topics for discussion, and reading group questions.
How to Read a Poem
by Terry EagletonLucid, entertaining and full of insight, How To Read A Poem is designed to banish the intimidation that too often attends the subject of poetry, and in doing so to bring it into the personal possession of the students and the general reader. Offers a detailed examination of poetic form and its relation to content. Takes a wide range of poems from the Renaissance to the present day and submits them to brilliantly illuminating closes analysis. Discusses the work of major poets, including John Milton, Alexander Pope, John Keats, Christina Rossetti, Emily Dickinson, W.B. Yeats, Robert Frost, W.H.Auden, Seamus Heaney, Derek Mahon, and many more. Includes a helpful glossary of poetic terms.
How to Read a Poem
by Terry EagletonLucid, entertaining and full of insight, How To Read A Poem is designed to banish the intimidation that too often attends the subject of poetry, and in doing so to bring it into the personal possession of the students and the general reader. Offers a detailed examination of poetic form and its relation to content. Takes a wide range of poems from the Renaissance to the present day and submits them to brilliantly illuminating closes analysis. Discusses the work of major poets, including John Milton, Alexander Pope, John Keats, Christina Rossetti, Emily Dickinson, W.B. Yeats, Robert Frost, W.H.Auden, Seamus Heaney, Derek Mahon, and many more. Includes a helpful glossary of poetic terms.
How to Read a Poem: Seven Steps
by Thomas H. FordHow to Read a Poem is an introduction to creative reading, the art of coming up with something to say about a text. It presents a new method for learning and teaching the skills of poetic interpretation, providing its readers with practical steps they can use to construct perceptive, inventive readings of any poem they might read. The Introduction sets out the aims of the book and provides some basic operating principles for applying the seven steps. In each subsequent chapter, the step is introduced and explained, relevant points of interpretative theory and methodology are discussed and illustrated with multiple examples, and the step is put into practice in a final section. Through these final sections, step by step, the book develops an extended reading of a single poem, Letitia Landon’s "Lines Written under a Picture of a Girl Burning a Love-Letter" from 1822. That reading is sustained across the whole arc of the book, providing a detailed worked example of how to read a poem. This accessible and enjoyable guide is the ideal introduction to anyone approaching the detailed study of poetry for the first time and offers valuable theoretical insights for those more experienced in the area.
How to Read a Poem: Seven Steps
by Thomas H. FordHow to Read a Poem is an introduction to creative reading, the art of coming up with something to say about a text. It presents a new method for learning and teaching the skills of poetic interpretation, providing its readers with practical steps they can use to construct perceptive, inventive readings of any poem they might read. The Introduction sets out the aims of the book and provides some basic operating principles for applying the seven steps. In each subsequent chapter, the step is introduced and explained, relevant points of interpretative theory and methodology are discussed and illustrated with multiple examples, and the step is put into practice in a final section. Through these final sections, step by step, the book develops an extended reading of a single poem, Letitia Landon’s "Lines Written under a Picture of a Girl Burning a Love-Letter" from 1822. That reading is sustained across the whole arc of the book, providing a detailed worked example of how to read a poem. This accessible and enjoyable guide is the ideal introduction to anyone approaching the detailed study of poetry for the first time and offers valuable theoretical insights for those more experienced in the area.
How to Read Middle English Poetry
by Daniel SawyerHow to Read Middle English Poetry guides readers through poetry between 1150 and 1500, for study and pleasure. Chapters give down-to-earth advice on enjoying and analyzing each aspect of verse, from the choice of single words, through syntax, metre, rhyme, and stanza-design, up to the play of larger forms across whole poems. How to Read Middle English Poetry covers major figures?such as Chaucer, Langland, the Pearl Poet, and Robert Henryson?but also delves into exciting anonymous lyrics, romances, and drama. It shows, too, how some modern poets have drawn on earlier poems, and how Middle English and early Scots provide crucial standpoints from which to think through present-day writing. Contextual sections discuss how poetry was heard aloud, introduce manuscripts and editing, and lay out Middle English poetry's ties to other tongues, including French, Welsh, and Latin. Critical terms are highlighted and explained both in the main text and in a full indexed glossary, while the uses of key tools such as the Middle English Dictionary are described and modeled. References to accessible editions and electronic resources mean that the book needs no accompanying anthology. At once thorough, wide-ranging, and practical, How to Read Middle English Poetry is indispensable for students exploring Middle English or early Scots, and for anyone curious about the heart of poetry's history.
How to Read Middle English Poetry
by Daniel SawyerHow to Read Middle English Poetry guides readers through poetry between 1150 and 1500, for study and pleasure. Chapters give down-to-earth advice on enjoying and analyzing each aspect of verse, from the choice of single words, through syntax, metre, rhyme, and stanza-design, up to the play of larger forms across whole poems. How to Read Middle English Poetry covers major figures?such as Chaucer, Langland, the Pearl Poet, and Robert Henryson?but also delves into exciting anonymous lyrics, romances, and drama. It shows, too, how some modern poets have drawn on earlier poems, and how Middle English and early Scots provide crucial standpoints from which to think through present-day writing. Contextual sections discuss how poetry was heard aloud, introduce manuscripts and editing, and lay out Middle English poetry's ties to other tongues, including French, Welsh, and Latin. Critical terms are highlighted and explained both in the main text and in a full indexed glossary, while the uses of key tools such as the Middle English Dictionary are described and modeled. References to accessible editions and electronic resources mean that the book needs no accompanying anthology. At once thorough, wide-ranging, and practical, How to Read Middle English Poetry is indispensable for students exploring Middle English or early Scots, and for anyone curious about the heart of poetry's history.
How To Say Babylon: A Jamaican Memoir
by Safiya Sinclair‘Dazzling. Potent. Vital’ TARA WESTOVER ‘To read it is to believe that words can save’ MARLON JAMES ‘I adored this book … Unforgettable, heartbreaking and heartwarming’ ELIF SHAFAK ‘A breathless, scorching memoir of a girlhood’ NEW YORK TIMES BOOK REVIEW