By Erik Martiny
A significant other 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 range of poetic cultural traditions from Britain, eire, North the United States, Japan and the Caribbea
- Summarises many genres from their earliest origins to their latest renderings
- The simply full-length severe assortment to house sleek diversifications of poetic genres
- Contributors comprise Bernard O’Donoghue, Stephen Burt, Jahan Ramazani, and plenty of different amazing students of poetry and poetics
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Extra info for A companion to poetic genre
But these contrasts obviously oversimplify, less because the news sometimes aspires to poetry in, for example, punning headlines, than because poetry is itself sometimes shot through with the news. If we turn to a handful of modern and contemporary poems, we see that, in accordance with Mikhail Bakhtin’s dialogic model of genre, poetry both incorporates and resists the news. 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.
It suggested the centrality of poetic technique to the art, albeit crudely; in a telling gesture, such debates sought to define certain poets according to the techniques they favored. Complicating matters, a broader poetic new formalism emerged in the movement’s wake, as more poets wrote metrical verse yet resisted any group affiliation. Such poetry offers the most visible signs that many writers found the various condemnations of these forms to be unpersuasive. 4 It is helpful, though, to note a broad parallel: that these debates anticipate some of the questions raised about the scholarly new formalism and the techniques it employs: in particular, whether it represents a return or a departure—or both.
The extraliterary discourses and speech genres that poetry draws on and yet distinguishes itself from are many, ranging from post it notes and text messages to public oratory and ritual incantations. The news is but one of these other genres, if an especially pressing other under modernity, when the media’s assumptions about time, information, language, nation, and representation are everywhere—assumptions that, as we have seen, poets often contest. Not that poetry is pristinely uncontaminated by the news.
A companion to poetic genre by Erik Martiny