By Emily Rosko, Anton Vander Zee
In the sector of poetry and poetics during the last century, no thought has been extra alive and contentious than the belief of shape, and no element of shape has extra emphatically backed this marked formal difficulty 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 additionally some distance out into the realm at huge: its humans, its politics, its ecology. The authors incorporated the following, rising and proven alike, write from a variety of views, by way of either aesthetics and identification. jointly, they give a dynamic hybrid assortment that captures a vast spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s creation bargains a beneficiant evaluation of conversations in regards to the line from the Romantics ahead. We come to determine how the road should be an engine for beliefs of progress—political, moral, or differently. For a few poets, the road touches upon the main basic questions of data and lifestyles. 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 reveal, might be unusual and understood. From the beginning, a unique lesson emerges: traces don't shape that means exclusively of their brevity or their size, of their changing into or their brokenness; traces reside in and during the descriptions we provide them. certainly, the historical past of yank poetry within the 20th century should be advised via the compounding, and sometimes confounding, discussions of its traces. A damaged factor either displays upon and extends this heritage, charting a wealthy diffusion of idea and perform into the twenty-first century with the main different, wide-ranging and interesting set of essays up to now 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
Concurring that we often tend to overvalue line-breaks over the line itself, V. Penelope Pelizzon turns our attention to the beginnings of lines, and, through a reading of Frank Bidart, she examines how the rhythm of a line can be established or productively disrupted by what she terms “soft” or “strong” entrances. Molly Peacock puts pressure on the middle of lines as a place to delicately fold in rhyme. Annie Finch, who has previously pursued T. S. Eliot’s notion that one might discover the metrical code, the ghost of meter, in free verse, foregoes the dug-in defensiveness of New Formalist polemics as she argues for the presence of something like a line-break after each poetic foot.
Espinoza, Kimiko Hahn, Raza Ali Hasan, Martha Rhodes, and Dana Roeser. Meanwhile, poets such as J. P. Dancing Bear, Patrick Phillips, and Mary Ann Samyn track the idiosyncratic ways that the line becomes a measure and a means for composition in their own work. For their part, Ben Lerner and Donald Platt offer candid insights into what motivates and sustains a broken line in their work. ” As a practitioner of a highly particular use of the line across a career, Platt explains that his line use (of alternating long and short lines arranged in tercets) offers a generative constraint with which 28 | Introduction to shape poetic thought.
Catherine Barnett weaves in a subtle feminist critique to the work of lineation when she admits that “there is an energy in breaking that is perhaps too often sworn or wooed or won out of women. I spend an awful lot of time trying to fix things, trying to make things. ” This visceral physicality that accompanies the making and breaking of lines is key for Carl Phillips as well: “There’s the strange, undeniable pleasure both in controlling and in being controlled,” he writes. ” Cynthia Hogue, moving more explicitly from formal to social reflection, explores how the calculated spatial suspension that enables many of Williams’s punning lines becomes devastating in Leslie Scalapino’s revisions of them in the context of the recent wars in Iraq and Afghanistan.