This short essay tries to get at what poetry is all about and what it can do for us. Your comments on this or on anything else on this Web site, of course are welcome: An Essay on Poetry Steven C.
Mark Strand on Poetry and Poetics--from Essays and Interviews On Donald Justice From the very beginning Justice has fashioned his poems, honed them down, freed them of rhetorical excess and the weight, however gracefully sustained, of an elaborate diction.
His self-indulgence, then, has been with the possibilities of the plain statement. His refusal to adopt any other mode but that which his subject demands--minimal, narcissist, negating--has nourished him.
If absence and loss are inescapable conditions of fife, the poem for Justice is an act of recovery. It synthesizes, for all its meagreness, what is with what is no longer; it conjures up a life that persists by denial, gathering strength from its hopelessness, and exists, finally and positively, as an emblem of survival.
From an interview with Frank Graziano in Graziano, ed. A Profile From The Monument 9 It has been necessary to submit to vacancy in order to begin again, to clear ground, to make space.
I can allow nothing to be received. Therein lies my triumph and my mediocrity. Nothing is the destiny of everyone, it is our commonness made dumb.
I am passing it on. The monument is a void, artless and everlasting. What I was I am no longer. I speak for nothing, the nothing that I am, the nothing that is this work. And you shall perpetuate me not in the name of what I was, but in the name of what I am.
I--and this pronoun will have to do--have not permitted anything worthwhile to be part of this communication that strains even to exist in a language other than the one in which it was written. So much is excluded that it could not be a document of self-centeredness.
If it is a mirror to anything, it is to the gap between the nothing that was and the nothing that will be. It is a thread of longing that binds past and future.
Again, it is everything that history is not. From "A Statement about Writing" Ideally, it would be best to just write, to suppress the critical side of my nature and indulge the expressive. But I tend to think of the expressive part of me as rather tedious--never curious or responsive, but blind and self-serving.
And because it has no power, let alone appetite, for self-scrutiny, it fits the reductive, dominating needs of the critical side of me. The more I think about this, the more I think that not writing is the best way to write.
Whether I admit it or not, I write to participate in the delusion of my own immortality which is born every minute. And yet, I write to resist myself. I find resistance irresistible. The Generation of I asked a few friends--those I happened to be in touch with--for recent unpublished work.
I picked what I wanted. Then I went through poems that had come directly to Ploughshares and which the editors thought would interest me. I recall that most of the poems which I chose came to me this way.
I have no method for picking poems. I simply pick what pleases me.
I am not concerned with truth, nor with conventional notions of what is beautiful. I tend to like poems that engage me--that is to say, which do not bore me.
I like elaboration, but I am often taken by simplicity. Cadences move me, but flatness can also seduce. Clearly, I have no set notion about what a poem ought to be. Editing a single issue of Ploughshares has not allowed me to reach any conclusions about the state of American poetry.
American poetry still seems to be "out there," practiced by others in many different places and under many different conditions. The number of people writing poems is vast, and their reasons for doing so are many, that much can be surmised from the stacks of submissions.
Whether or not this is a healthy state of affairs I cannot say.parts of a theory. You will want to give a brief summary of the theory so that the reader understands exactly what lens you’re applying to the text.
You may want to provide that summary before the presentation of your actual analysis, or you can interweave details of the theory as they become necessary in the midst of your analysis. Formalism is a literary theory that was spearheaded by two main bodies – Russian Formalists and New Critics – which focused on understanding the literary text through the text itself.
Its principles posed a great shift from the traditional approaches during its time, and so it sparked a movement in the field of literary studies that would adopt new perspectives and ideas.
This section collects famous historical essays about poetry that have greatly influenced the art. Written by poets and critics from a wide range of historical, cultural, and aesthetic perspectives, the essays address the purpose of poetry, the possibilities of language, and the role of the poet in the world.
ESSAY ON POETIC THEORY The Negro Artist and the Racial Mountain () BY LANGSTON HUGHES Home > Learning Lab > Essays on Poetic Theory > The Negro Artist and the Racial Mountain. 9/7/ The Negro Artist and the Racial Mountain by Langston Hughes 9/7/ The Negro Artist and the Racial Mountain by Langston .
Toward a Poetic Theory of Narration: Essays of S.-Y. Kuroda and millions of other books are available for Amazon Kindle. Learn more Enter your mobile number or email address below and we'll send you a link to download the free Kindle ashio-midori.com: Sylvie Patron. Literary Theory Essay Sample: Examples of Formalism Posted on April 17 by Valeriya Kravchuk Formalism is a branch of literary theory that became widespread at the beginning of the 20th century.