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Abstract only
Mark Robson

modern theoretical explorations of this question and the answer to be found in Sidney’s A Defence of Poetry . The question will thus be approached from two directions in this chapter. First of all, I would like to suggest a framework for investigating the place of literature that will be provided by turning to what becomes literature , or perhaps it is as

in The sense of early modern writing
Abstract only
Author:

Poetry reading is a topic about which there is always something more that can usefully be said. This book explores key aspects of poetry by discussing poems which are quoted in full and then treated in a sustained way. It considers a broad range of poetry, using examples taken from the Tudor period to the twenty-first century. Some are very traditional, and some are very avant-garde, and most are somewhere in between, so it is unusually broad and eclectic in its generic range. The book invites readers to cultivate generic generosity, and entertain a willingness to be astonished by the bizarre practices poets sometimes indulge in, in the privacy of their garrets, and among consenting adults. The emphasis is on meanings rather than words, looking beyond technical devices like alliteration and assonance so that poems are understood as dynamic structures creating specific ends and effects. The three sections cover progressively expanding areas. The first deals with such basics as imagery, diction and metre; the second concerns broader matters, such as poetry and context, and the reading of sequences of poems. The third section looks at 'theorised' readings and the 'textual genesis' of poems from manuscript to print. By adopting a smallish personal 'stable' of writers whose work is followed in this long-term way, a poetry reader can develop the kind of intimacy with authors that brings a sense of confidence and purpose.

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Don Randall

2 The poetry Although Malouf’s international reputation is very much founded on his achievements in fiction, he began as a poet and was nearly two decades into his career before publishing his first substantial fiction. In his Preface to Johnno, Malouf offers some brief analysis of the creative process, in some aspects very practical, that initiated and sustained his first novel’s composition. Forging the crucial first sentence of what will become the first novel entailed ‘falling back on the open, undefended tone of poems … written a decade before’. Further

in David Malouf
Open Access (free)
Stirner, anarchy, subjectivity and the art of living
John Moore

3 John Moore Lived poetry: Stirner, anarchy, subjectivity and the art of living1 Introduction At the heart of the new anarchism(s) there lies a concern with developing a whole new way of being in and acting upon the world.2 Contemporary revolutionary anarchism is not merely interested in effecting changes in socioeconomic relations or dismantling the State, but in developing an entire art of living, which is simultaneously anti-authoritarian, anti-ideological and antipolitical. The development of a distinctively anarchist savoir-vivre is a profoundly

in Changing anarchism
An anthology
Series: Hispanic Texts
Editor:

Spanish contemporary poetry is currently enjoying exceptional dynamism and vitality. This book presents a selection of Spanish peninsular poetry from the 1970s to the present day. It also presents an introductory study of the most relevant poetic trends and poetic groups of the period, followed by guided and close readings of each poem. The poetic selection is divided into sections and subsections in order to aid its pedagogical intent. It covers the poetry written during the transition to democracy; the emergence of poetry written by women in the 1980s; and the Spanish poetic field of the 1990s. The book also covers the poetry written at the turn of the new millennium and some of the youngest voices in Spanish poetry today. The first part deals with the poetry written in the twenty years or so that followed the transition to democracy in Spain, which although considered contemporary may be viewed by the young reader as firmly grounded in the past. In contrast, the second part considers the poetry that has been written and published in Spain during the new millennium. The visual arts and the prevalence of visual culture in the new millennium, in television, cinema or the plastic arts, also had a significant effect on the poetry being written. Purism and metapoetry were also interesting aspects that the poets of the new millennium explored. The current map of Spanish poetry is a very diverse one in which many aesthetics and authors converge.

Or, W. H. Auden and history

This book discusses W. H. Auden's poetry, and other poetry of the modern era; some of it concerns Auden himself. Auden was particularly important for thinking about the relationship between the extraordinary and the everyday as experienced by historical actors and in the histories written about them. Discussing the twentieth-century development of recording and writing systems among the Vai people of Liberia, anthropologist Jack Goody noted that several Vai records had been compiled by men who had worked as cooks at some point. To employ a poetical maid was a fashionable thing to do and literacy in a cook was certainly a useful commodity. The book explores to what did Auden pay homage to in 'Homage to Clio'; and why might a poet evoke the Muse of History. Auden wrote a number of poems about historical events; two are famous for his later renunciation of their historiography. 'Spain 1937' was about a civil war that had already been designated 'historical'. He had spent time in Spain, was witness to violence perpetrated by both sides during the Civil War. Historiography is to history as poetics is to poetry. In Homage to Clio, the poet reveals the Muse of History as a blank-faced girl, always, forever, present when anything happens, but with absolutely nothing to say. The book explores whether Auden's Historia is silent on the page as well as mute in her person.

A brief mention of its precedents
Diana Cullell

Introduction Spanish contemporary poetry: a brief mention of its precedents Chris Perriam stated, at the end of the 1990s, that ‘[t]he twenty-odd years following the death of Franco … ha[d] been ones of extraordinary vitality for poetry’ (1999: 198). Indeed, those were decades of intense liveliness in the poetry of Spain but the years that followed, up until the present moment, have seen equally – if not more greatly – animated developments, dynamism and vitality. Numerous interesting and innovative reworkings of poetic traditions at the turn of the new

in Spanish contemporary poetry
Diana Cullell

Poetry of experience and poetry of difference Cullell_ContempPoetry_02_Poems.indd 79 28/04/2014 17:24 Cullell_ContempPoetry_02_Poems.indd 80 28/04/2014 17:24 LUIS GARCÍA MONTERO Merece la pena (Un jueves telefónico) Trist el qui mai ha perdut per amor una casa. Joan Margarit Sobre las diez te llamo para decir que tengo diez llamadas, otra reunión, seis cartas, una mañana espesa, varias citas y nostalgia de ti. El teléfono tiene rumor de barco hundido, burbujas y silencios. Sobre las doce y media llamas para contarme tus llamadas, cómo va tu trabajo, me

in Spanish contemporary poetry
Marie Mulvey-Roberts

80 The arts of Angela Carter 4 Angela Carter’s poetry Sarah Gamble A ngela Carter was an assiduous fashioner of her own autobiographical narrative, which became ever more stylized and repetitive as the years went by. Twenty-five years after her death, her own life-account has not been substantially challenged: following the script that she herself set out, we talk of Carter the novelist, the short story writer and the cultural commenter; Carter as feminist, socialist and demythologizer. Not until recently, however, has she also been identified as a poet

in The arts of Angela Carter
Abstract only
Steven Earnshaw

, to blow a hair’s-breadth off The dust of the actual. (Elizabeth Barrett Browning, Aurora Leigh , II, 476–83) The previous chapters have focused on the novel from the middle of the nineteenth century onwards as being at the forefront of literary Realism. Indeed, many critics and theorists regard discussion of literary realism as one related solely to the novel genre. However, Realism was such a dominant force in the nineteenth century that poetry and drama were obliged to respond to it. That this was the order of influence is repeatedly borne out by

in Beginning realism