How Poets See the World
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Product details:
- Publisher OUP USA
- Date of Publication 14 July 2005
- ISBN 9780195174915
- Binding Hardback
- No. of pages256 pages
- Size 160x234x25 mm
- Weight 510 g
- Language English 0
Categories
Short description:
This book looks closely at a handful of contemporary poets (John Ashbery, Amy Clampitt, Jorie Graham, Charles Tomlinson, and Charles Wright) and, less extensively, at some others, with an eye to explaining the art of description in poetry. How do poets see the world? What are they looking for? How do they transcribe their vision and make poems out of their observations?
MoreLong description:
Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work.
Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations.
This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.
Spiegelman's masterly study of the persistence of the descriptive impulse in contemporary poetrydemonstrates how resourcefully poets of various stripes engage themselves and the reader in inventive acts of looking at the visible world. Spiegelman has served his poets, and the art of poetry, well.
