A companion to poetic genre by Erik Martiny

By Erik Martiny

A better half to Poetic Genre brings jointly over forty contributions from prime lecturers to supply serious overviews of poetic genres and their sleek diversifications.

  • Covers a wide variety of poetic cultural traditions from Britain, eire, North the United States, Japan and the Caribbea
  • Summarises many genres from their earliest origins to their most modern renderings
  • The simply full-length severe assortment to house sleek variations of poetic genres
  • Contributors comprise Bernard O’Donoghue, Stephen Burt, Jahan Ramazani, and lots of different awesome students of poetry and poetics

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Jennings, H. Eiland, and G. Smith. Cambridge, MA: Belknap Press; Harvard University Press. 1996. 768–82. Benjamin, W. ” Trans. E. Jephcott. Selected Writings. Vol. 2. Ed. W. Jennings, H. Eiland, and G. Smith. Cambridge, MA: Belknap Press; Harvard University Press. 1996. 433–58. Benjamin, W. ” Trans. R. Livingstone. Selected Writings. Vol. 2. Ed. W. Jennings, H. Eiland, and G. Smith. Cambridge, MA: Belknap Press; Harvard University Press. 1996. 741–42. Benjamin, W. ” Trans. R. Livingstone. Selected Writings.

After all, pace Williams, if we tried to get the news of the last century or so from poems, we wouldn’t come up empty handed. In English-language poems, we’d learn a great deal about the world wars, especially the first; the Great Depression; the decolonization of European empires since Ireland’s Easter Rising; changes in gender relations; the rise of new technologies; the wars in Vietnam and Iraq; and so forth. More recently, the news event that outstripped all others was the September 11 destruction of the World Trade Center, my starting point in analyzing individual poems in relation to the news.

While there are no doubt those who favour the methods of close reading that dominated the mid-twentieth century, the demonstration of the complicity between those methods and unacceptable ethicopolitical assumptions has surely been too persuasive to allow a simple revival. Although there is more to learn from the best of the early formalist critics than has generally been allowed in recent decades, they also provide a clear lesson in the many hazards of a formalism that fails to take account of the situatedness of writers and readers, that treats works of literature as self-sufficient, organic wholes, and that allies evaluation with questionable human and social values.

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