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El. knyga: Writing Poetry: Creative and Critical Approaches

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  • Formatas: 224 pages
  • Serija: Approaches to Writing
  • Išleidimo metai: 26-Nov-2008
  • Leidėjas: Red Globe Press
  • Kalba: eng
  • ISBN-13: 9781350309968
Kitos knygos pagal šią temą:
Writing Poetry: Creative and Critical ApproachesDidesnis paveikslėlis
  • Formatas: 224 pages
  • Serija: Approaches to Writing
  • Išleidimo metai: 26-Nov-2008
  • Leidėjas: Red Globe Press
  • Kalba: eng
  • ISBN-13: 9781350309968
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Writing Poetry combines an accessible introduction to the essential elements of the craft, with a critical awareness of its historical, ideological and aesthetic underpinnings. The authors argue that separating the making of poems from critical thinking about them is a false divide and encourage students to delve deeper into their work by becoming accomplished critics and active readers of poetic texts.

The book presents a range of strategies and practical exercises to help initiate and sustain the process of making poems, while also demonstrating the value of activities such as memorizing poems, reading and writing about poetic traditions, developing manifestos and statements of aesthetics, and composing self-reviews which place poems within critical context.

The first book designed specifically to meet the needs of students studying poetry writing in the context of criticism and literary study, this is an invaluable guide to all aspiring poets. 


Acknowledgements ix
Introduction 1(1)
The stretch in between 1(3)
Serious play 4(3)
Part I Foundations
7(102)
Establishing Practice
9(19)
Poesy, prosy, and poetry
9(3)
Downplaying the vertical
12(1)
Flow theory and committed detachment
13(2)
Defamiliarization
15(2)
The concrete versus the abstract
17(3)
`Improv'-ing and journaling
20(3)
Showing versus telling
23(5)
Form and Structure
28(16)
Form and formlessness
28(1)
Question-and-answer: the beginnings of form
29(6)
The expansion--contraction process
35(4)
Contraction strategies
39(1)
Radical arrangement
39(1)
Creative erasure
39(1)
Guided imagery
40(1)
Discovering form and structure
40(4)
Voice
44(15)
One's own true voice
44(2)
Voice as palimpsest
46(1)
Assuming the voices of others
47(3)
Throwing your voice
50(2)
Voice training
52(7)
Playing puppeteer
52(3)
The aleatory voice
55(1)
Call and response
56(1)
The infantilized voice
57(2)
Style
59(11)
Styles versus style
59(2)
Romanticism and Modernism: two dominant legacies of style
61(1)
Starting in style
62(2)
The recursive method
64(5)
Stylistic arrogance
69(1)
Subject
70(15)
Downplaying polemics
70(1)
Chasing poems
71(2)
Negations and reversals
73(2)
Juggling
75(3)
Oblique critique
78(7)
Cultures of Poetry Writing
85(24)
The workshop culture
85(1)
The valuable because
86(5)
Written commentary
91(3)
Creating a critical preface
94(15)
Foundations: Exercises
96(1)
Expansion/contraction modes
96(1)
Nuancing and fleshing out
97(1)
Eliminating redundancies and cleaning house
98(1)
Metaphor substitutions
99(1)
Syntax mimicry
100(1)
Seeing double
100(1)
Recursivity or (re) cycling
101(1)
The art of interrogation
102(2)
Engaging the absurd
104(1)
Object studies
105(4)
Part II Speculations
109(111)
Exploring Possibilities
111(20)
Creative-critical consciousness
111(2)
Gaining a sense of tradition
113(2)
Semiotics and poetics
115(3)
Interpreting a cultural sign
118(2)
Semiotics and the poetic self
120(2)
Greater linguistic play
122(3)
The poetics of power
125(4)
Signing off
129(2)
Form and Structure
131(15)
The material realities of poetry
131(1)
Taking inventory of poetic material or `signs'
132(4)
Unpacking the meanings embedded in signs
136(2)
The poetics of history and critical awareness
138(3)
Tapping into literary history
141(5)
Voice
146(10)
The unvoiced
146(3)
The dangerous because
149(2)
Leaping away from logic
151(2)
The exceptional because
153(1)
The dangerous lack of reason
154(2)
Style
156(14)
Postmodern irony: the style of our times
156(1)
The past and present of postmodern irony
157(1)
Understanding related forms of irony
158(2)
Stable and unstable irony
160(2)
Prufrock and other observations
162(2)
Irrelevance and irreverence
164(2)
Quantum irreverence
166(4)
Subject
170(16)
Making the sensational mundane
170(3)
The magical realist approach to subject
173(4)
The semiotic simian
177(5)
The contrapuntal subject
182(4)
Cultures of Poetry Writing
186(34)
Poetry culture wars
186(2)
Campus culture
188(5)
Creative writing and the university: a brief survey
193(2)
Five reasons to make poetry writing a part of any education
195(25)
Speculations: Exercises
202(1)
Occupational oddities
202(1)
Imagining the unimaginable
203(3)
Resurrecting the classics
206(2)
Lexical accretion (or the piling up of similar words)
208(1)
Ekphrasis
208(3)
The documentary lyric
211(3)
Sonic translation
214(1)
Suspensions and reverberations
215(1)
Recursivity redux
216(1)
The implied because
217(3)
Notes 220(13)
Selected Further Reading 233(2)
Index 235
CHAD DAVIDSON is Associate Professor in Creative Writing and Literature at University of West Georgia, USA. His poetry collections include Consolation Miracle (2003) and The Last Predicta (2008), both from Southern Illinois UP. He is Associate Editor for New Writing: The International Journal for the Practice and Theory of Creative Writing. His poems have appeared in The Paris Review, Ploughshares and the Virginia Quarterly Review.

GREGORY FRASER is Associate Professor in Creative Writing and Literature at University of West Georgia, USA. He is the recipient of a grant from the National Endowment for the Arts and his poetry has appeared in journals including The Southern Review, The Paris Review and The Chicago Review. His collections of poetry are Strange Pietą (Texas Tech, UP 2003) and Answering the Ruins (Northwestern UP, 2009).
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