By Erik Martiny
A spouse to Poetic Genre brings jointly over forty contributions from prime lecturers to supply serious overviews of poetic genres and their glossy diversifications.
- Covers a wide range of poetic cultural traditions from Britain, eire, North the US, Japan and the Caribbea
- Summarises many genres from their earliest origins to their most up-to-date renderings
- The in simple terms full-length severe assortment to house sleek diversifications of poetic genres
- Contributors contain Bernard O’Donoghue, Stephen Burt, Jahan Ramazani, and lots of different striking students of poetry and poetics
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Extra resources for A companion to poetic genre
What, for example, gets included and shut out by “British,” “American,” or “modern”? Does “sonnet” mean any fourteen-line poem, or are specific meters and stanzas and themes also prerequisites, and what about near-sonnets? Does “elegy” include only poems of mourning for individuals or also blues poems and group laments and works of self-mourning (Ramazani)? What is the relation between historically and culturally disparate instances of each subgenre? Whether framed broadly as “poetry,” or limited to the sonnets and elegies, villanelles and aubades of a particular era and culture, definitions of genre are inherently unsettled by their porous, shifting, and uncertain boundaries.
Another reviewer wearily mentions “an obligatory villanelle, sestina, pantoum, and sonnet” that many collections include (Mlinko, unpaginated). This nearly frantic cycling through different forms gives the impression that the poets seek to demonstrate a certain skill then quickly weary of it. They add even more outlandish demands 22 David Caplan to forms once viewed as forebodingly difficult. Denise Duhamel, for instance, writes a sestina whose end words vary the last name of the actor Sean Penn (21–22).
9), “Invasion” punningly turns on its head empty news rhetoric by way of explaining the impossibility of anyone with self-respect siding with the nasty Nazis: For ef yuh cuss nayga “naasy” Dem get bex an feel shame, But German bawl out tell de whole worl’ “Naasy” is dem name! 25–28) Bennett’s bilingual pun on Nazi (“Naasy”) and nasty (“naasy”), comically compressing and bridging transnational distances, exemplifies the sonic association and semantic friction that poetry so readily elicits from words, in contrast with the transparent one dimensionality and ephemerality of most news reports.
A companion to poetic genre by Erik Martiny