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In an age of interpretation, style eludes criticism. Yet it does so much tacit work: telling time, telling us apart, telling us who we are. What does style have to do with form, history, meaning, our moment’s favored categories? What do we miss when we look right through it? Senses of Style essays an answer. An experiment in criticism, crossing four hundred years and composed of nearly four hundred brief, aphoristic remarks, it is a book of theory steeped in examples, drawn from the works and lives of two men: Sir Thomas Wyatt, poet and diplomat in the court of Henry VIII, and his admirer Frank O’Hara, the midcentury American poet, curator, and boulevardier. Starting with puzzle of why Wyatt’s work spoke so powerfully to O’Hara across the centuries, Jeff Dolven ultimately explains what we talk about when we talk about style, whether in the sixteenth century, the twentieth, or the twenty-first.
Named as a 2020 Book of the Year by The Times Literary Supplement Survival Is a Style, Christian Wiman’s first collection of new poems in six years, may be his best book yet. His many readers will recognize the musical and formal variety, the voice that can be tender and funny, credibly mystical and savagely skeptical. But there are many new notes in this collection as well, including a moving elegy to the poet’s father, sharp observations and distillations of modern American life, and rangy poems that merge and juxtapose different modes of speech and thought. The cumulative effect is extraordinary. Reading Survival Is a Style, one has the sense one is encountering work that will become a permanent part of American literature.
With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built-meter and rhyme, form and diction, sound and sense. Drawing on poems from Robert Frost, Elizabeth Bishop, and others, Oliver imparts an extraordinary amount of information in a remarkably short space. "Stunning" (Los Angeles Times). Index.
The most ingenious and ephemeral of textiles, lace is presented as the poetry of fashion. Here over 225 pictures, including dramatic photographs and historical illustrations, portray various types of lace and garments from different periods. An outstanding resource for fashion historians, designers, collectors, students, and aficionados, this unique study will be cherished by all who appreciate beautiful clothing and fabrics
Modern Poetry contains poetry that refl ects a litt le of my childhood days (Beds, for example, relates my experience with the growing of fl owers back in the sixties but melds in with recent occurrences), and includes life stories of friends and those around me. More recently the sett ings for the poetry include locations to which I have traveled in Asia (Hong Kong); Europe (France, Italy); and North America (USA and Canada). In Christmas Shopping, I try to bring the readers to various countries in their searches for items endemic to their locations. I did not physically go to these stores but my research led me to them. Th e purpose, here, is to have the readers relate to their local Department store. I believe it delivers their personal involvement and help to take them to the location with which they are familiar or to which they can go and experience. Some of the poems are writt en in the fi rst person but they do not necessarily refl ect my experiences but are told from a personal perspective adding a provocative fl avor and a skew to fantasy. Modern Poetry seeks to elicit emotions that speak to the readers senses to make them want to read it again and again and, indeed, to commit some of the poems to memory. I believe Day to Day will resonate with people from many walks of life as it depicts the rat races that seem to control their lives. Modern Poetry has representations in areas of climate change, politics, banking, love, war, friendship, geography, social life and psychology. Th e writing style does not conform to the any classic poetry conventionfor example sonnet(14 lines with the a,b,b,a,a,b,b,a,c,d,e,c,d,e form). Instead, I simply write to portray my thoughts, not even employing iambic pentameter. Of course there may be times when it appears in parts of poems but it is purely coincidental and was not intended. I simply decided not to follow any conventional rules. I am, however, quite fascinated with the limerick and Modern Poetry contains two limericks, the only form that was followed at all. On several occasions, I write in response to turmoil in my life at the time. Th e sense that I want to portray in these is that I experience the same day to day trials and tribulations, hopes and hopelessness, trepidation and courage, anxiety and calm that a large percentage of people do. Night, I Cease to feel, Midnight Madness, Solitude and All for You all fi t into these categories. Th ere are others that refl ect what I see and hear of other people and I fi nd that the life experiences are common to many groups from diverse cultures and practices. Many of my poems have interpersonal relationships, particularly male female or more accurately, intimate relationships, at their core. You Made Me You and Let Our Light Shine are prime examples. Th e fullness of colour in this book, especially the illustrations, should give the reader a sense of presence at the scene and make for a lifelike experience. As I have presented my thoughts in various areas of moods, emotions and spirit the works have been presented in groups. Th is will allow a reader who wants to enjoy a certain type of reading to fi nd them all together making a reading session more relaxed. I believe that there will be persons with whom a poem or two will resonate. If you are one of them, then take the opportunity to share your thoughts and feelings with someone you would like to partake in that moment by sending the poem for that person to read and enjoy. I understand that my style of writing may be new to readers who are used to the conventional classic forms. I know, though, that aft er reading ten to fi ft een pieces, they will become accustomed to this style, and see it more akin to storytelling which they will fi nd to be quite enjoyable.
This collection of essays critically evaluates Robert Lowell's correspondence, Elizabeth Bishop's unfinished poems, the inflated reputation of Hart Crane, the loss of the New Critics, and a damning-and already highly controversial-indictment of an edition of Robert Frost's notebooks. The book also includes essays on Derek Walcott and Geoffrey Hill, two crucial figures in the divided world of contemporary poetry, and an attempt to rescue the reputation of the nineteenth-century poet John Townsend Trowbridge. Short reviews consider John Ashbery, Anne Carson, Billy Collins, Rita Dove, Louise Glück, Jorie Graham, Robert Hass, Seamus Heaney, and more.
Renees Poems with Wings Are Words in Flight is a collection of poetic accounts designed to have colorblind justice, hear the truth, touch freedom, taste love, and smell the Rose of Sharon. This book is written with such conviction that it is sure to cleanse the soul, mend the broken heart, and ultimately transform ones mind.
The poetry of Doris and Rosa is depicted as "Poetry Our Style" and abounding in crossed imagery of inspiration and dedication. It reflects occasional honors and tributes as well as the joys and sorrows of society; and delves into the highest level of reverence for nature and a spiritual life. Their work rings out with verses of rhymes and reasons true to depth of imagination, creative thinking, and personal view. The co-writers have joined their talent to bring a refreshing idea to emotional expressions of many folds. Thereby allowing you, the reader, to relate and be inspired to fulfill your highest level of comfort. This book is dedicated to family and friends through the years who have touched and enriched their lives in special ways. The writers express sincere thanks to their supporters and a special thanks to God for blessing them with the gift of creative writing.