This was really informative and I appreciated the examples it lent for each form. ��_����cI-R�)-R��%�]/Ѣ��]icZ7���~?Z�:���*�IN��IRZK�j����Z뮕i�ީ*���~�IuZ�����/mkZU��j��%����_K]u�*Z�n��T����K�Ҥ�--*���KZ��iW������J!B �G�I � � �>�I$�#� ���$�J����.�K�K��AW�Uz}$�K�%�7���֖���W����-V�It�U�WI �u���k����KIi-%��].������(I-% (K�Ҡ���k�Wt�)�O⢒B�J)��=U=?Ia6I������P�%� 0���K���i�P�� Saæ�XL��*I�\$����L&!0�_]؅�� "Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. It wasn't too great at telling you how to analyze poetry. [�m�ޟ���$�U���_���u������[_Ƈ�����$�޿�����������������?�������P?�R�7�O��?�����_�������������x����������G����������_����������N�aaB&����)@��P��T�a�_�G[8缳������������#�ST��������Z��D���w�!ݳ��tG�"8f����I�(l+a�N��@4!d4He�id%����D�dSoV���VM��p�/�G|@�T�8r���7 `��@úI�[l �a�^ ��H&���[n�a�>��$�ק��oJ��o�zOt�.���z[zO���n��,�}�=�=u�/�K��O����u�����֗���ݵ����.�k�k~����� ���K����z^ޓ���տi}�n޽�/K���{zZ��o��ݿ�t��_�/mR�i:���[_�J�������I�;����~���u}:���W���m/����n/���]r����n����M�{���x�o��@?�:o�}�k�߶������AC ���Tv���P1���n��ij�߶�����n������t��_o�����~���oo���k������oo�޻������u���WWI��o�Kݷ��ߧ���߽����v���߻���oݻ߯���z������_~�5��ޞ߶�on�>���Wmiխ���Ut�A��M7 The two downsides are that, one, its examples are limited in what parts of the history they show and, two, The description of the different forms is not always as well explained as it could be. It tries too hard to be two things at once. The Making of a Poem is not a book which lends itself to pigeon-holing. It is very nice to have one that goes over all different forms. ��"�tE���8:~�J�Ԕ��歰�z~�֐j�Kҍ}RZ���Y����n�Z���F�H�&W���; ��}WT�i}���KK��Ҫ�^߯���T�� �/��R\dc3g��s ١�D3B$3d�kK�S��E( ���j�@ P��0��0MB�g�i��>j��M4����"�A�k�EwT��G�WD\i'꺪A�AZ%�O �Щ{�M��I�T���T�:��O��]+T����65iBri�zV�-%ֽ��F�M~�zZ�E��(Iu�2�X�+Z_zZJ�R

���������)���Q�������������������������������;� h0��G��8��^C�h P����!�4��T���3�@�k�A�Aռ�ɐ`r�5@�N��;��MӸ|,? trailer << /Size 64 /Prev 234818 /Info 49 0 R /Root 51 0 R >> startxref 0 %%EOF 51 0 obj << /Type /Catalog /Pages 52 0 R >> endobj 52 0 obj << /Type /Pages /Kids [ 53 0 R 1 0 R 7 0 R 13 0 R 19 0 R 25 0 R 31 0 R 37 0 R 43 0 R ] /Count 9 >> endobj 62 0 obj << /Length 63 0 R /S 81 /Filter /FlateDecode >> stream Very well done technical manual on forms and structures of poetry, probably as useful for working poets as for students or critics. The reader takes four steps forward, then two steps back. There are no discussion topics on this book yet. ]�V ����ÄE)Z�P���+��dۀ����K?���p�G�$M���q��#m�J��r��cc܂��q�"i][� Terms are clearly defined, plenty of examples, a good book to have nearby when reading (or, I would imagine, writing) poetry.

First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline.

The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. A sestina? A bittersweet end. It has a short explanation of the poetic forms but not enough to provide any true depth or insight. ��P�� �a�Q�CY@a!�`�h���E��$#���O�Dpt6�R �A���Ru^�W��I$���P�K %AՆ*�&�J�Up�a5���Q�zꗥ����,�@`졕����dv��A����PB@�駴��V�}u_����UM|�? 0000008631 00000 n Finally finished! A great reference for poetic forms. It, uh, really had some examples and a lot of them and some had different styles. It's not a standard anthology, though given its subtitle is 'A Norton Anthology of Poetic Forms', it could be seen as a companion to The Norton Anthology of Poetry. A very helpful guide to writing a blank-verse poem, and am Ode, and/or a pastoral poem. ›,��}.����kX���&N.WR�RF���E[2nE��{҃�*�.���U�ESN�*{;+S����i��u�]���^��dod���;s�"a6�0��/3q�\VAѫ��p>j2��r�`!E�s��wu5{^$�7�� endstream endobj 57 0 obj 5377 endobj 58 0 obj << /Type /XObject /Subtype /Image /Name /im1 /Length 57 0 R /Width 1530 /Height 2560 /BitsPerComponent 1 /ColorSpace /DeviceGray /Filter /CCITTFaxDecode /DecodeParms << /K -1 /EndOfLine false /EncodedByteAlign false /Columns 1530 /EndOfBlock true >> >> stream I'm liking poetry anthologies more and more as I continue reading them--it's the perfect thing to pick up before writing in the morning or going to bed at night. ���RZΗ���Q ���U""B$F�C" �@� ����0�L �aI ��N��H�ڦ��}$l"V�(A�#�„l*�j�$���P��iZ��&�k�V�h5K�mU$]�N�P$��FzOIs�Fz����%aWJ�iQKK�����Z�pR��]i��B�IR�I*�/J�U(�TꖦQU������סUIn��5�K�֗�����'��J�T�*��UC�J�$�I�A$�I � ����U���/_T������֫�}Rֵ��t���U���\-ZZF���Js�j����K$j�����)��V�T�Vҥ�$�U��%�a/Iib5ޕ�� I would never swap this book. Welcome back. "Concise, learned, revisionary... should enrich the passionate conversation about poetic forms for years to come. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. The mix of poets, topics, and time periods keeps things interesting in this one, plus Strand and Boland make great commentary on poetic forms and origins. It's an academic anthology, Christ.

It also goes through a nice explanation of changes in form over time. I don't know why I bought this book, by this I mean what did I expect to mentally obtain? Goodreads helps you keep track of books you want to read. Nor is it intended as an exhaustive textbook, or as a beginner's introduction to poetry. It was one of the most rewarding courses I ever took. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. "That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. A friend gave me a copy of this book after learning that I had written a few poems of the pantoum variety. But I began to ask myself why I didn't like this book as I swished back and forth through the pages looking for clues.

An excellent, accessible introduction to poetic forms.



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