An anthology of 144 "extreme" formal poems by 36 contemporary poets, many of them multi-award winners. The poets included are: Alexander Pepple; B. Fulton Jennes; Barbara Loots; Benjamin S. Grossberg; Beth Houston; Bruce Bennett; C. B. Anderson; Catherine Chandler; Chris O'Carroll; Claudia Gary; D. R. Goodman; David Anthony; David Stephenson; Debra Wierenga; Duncan Gillies MacLaurin; Elizabeth Spencer Spragins; Eric Meub; Gail White; Jane Blanchard; JD Michael; Jean L. Kreiling; Jerome Betts; John J. Brugaletta; Joseph S. Salemi; Kevin Durkin; Kyle Potvin; Leslie Monsour; Maryann Corbett; Max Gutmann; Nicole Caruso Garcia; Robin Helweg-Larsen; Susan de Sola; Susan Jarvis Bryant; Ted Charnley; Tim Taylor; Wendy Sloan
Positioning contemporary Deism as the Golden Mean between atheist-materialist Darwinism and religious fundamentalism, Beth Houston convincingly argues that exquisitely designed Creation categorically necessitates a transcending Intelligent Designer that is immanently engaged in the perpetual process of creating novelty sustained within the secure margins of natural laws. To clear the way for new Deism, Houston's explication, sprinkled with satire, demystifies Charles Darwin and deconstructs Darwinism/neo-Darwinism on the one hand, and on the other continues her demolition of biblical literalism with an incisive critique of the modern quest for the historical Jesus. To stress her point that embracing truth is imperative for our survival, Houston delineates dangers of both Darwinian and fundamentalist myths and superstitions, exposing how separately and together they perpetuate dangerous elitist agendas that range from exploitation and war instigated by corporate oligarchs to misogynist/homophobic gang rape and other expressions of bigotry. As a counterpoint to her analysis of brute selfishness, Houston affirms Nature's practical and spiritual benefits and challenges us to protect our life, liberty, happiness, and truth by contributing to authentic democracy, environmental stewardship, and nurturance of our creative, spiritual, and ethical sensibilities. Houston represents a version of Deism rooted in common sense, which she defines as the consensus of all our faculties, including reason, conscience, intuition, experience, volition, and the aesthetic. Unlike some Deists writing today, Houston affirms aspects of religion untainted by greed and hubris that express humanity's natural desire for God, truth, and the Good. Deism reveres the Creator of Nature, the Natural God, whose truth and spiritual Presence, independent of priestly mediation, are democratically available to all.
An anthology of nearly 200 true-to-form sonnets by over forty poets, many of them multi-award winners. The poets included are: David Gwilym Anthony; Lisa Barnett; Bruce Bennett; Jerome Betts; Jane Blanchard; John J. Brugaletta; Mike Carson; Jared Carter; Cheryl Carty; Ted Charnley; Patrick Daly; Diane Elayne Dees; Susan de Sola; Kevin Durkin; Nicole Caruso Garcia; Claudia Gary; Mel Goldberg; Midge Goldberg; D. R. Goodman; Benjamin S. Grossberg; Max Gutmann; Beth Houston; Mark Jarman; A.M. Juster; Jean L. Kreiling; Duncan Gillies MacLaurin; Peter Meinke; Eric Meub; Leslie Monsour; Chris O'Carroll; Alexander Pepple; Kyle Potvin; Katherine Quevedo; Joseph Salemi; Wendy Sloan; Elizabeth Spencer Spragins; David Stephenson; Carol A. Taylor; Tim Taylor; Gail White; Debra Wierenga; and Thomas Zimmerman
In a work of surprising range and authority, Deborah Forbes refocuses critical discussion of both Romantic and modern poetry. Sincerity's Shadow is a versatile conceptual toolkit for reading poetry. Ever since Wordsworth redefined poetry as "the spontaneous overflow of powerful feelings," poets in English have sought to represent a "sincere" self-consciousness through their work. Forbes's generative insight is that this project can only succeed by staging its own failures. Self-representation never achieves final sincerity, but rather produces an array of "sincerity effects" that give form to poetry's exploration of self. In essays comparing poets as seemingly different in context and temperament as Wordsworth and Adrienne Rich, Lord Byron and Anne Sexton, John Keats and Elizabeth Bishop, Forbes reveals unexpected convergences of poetic strategy. A lively and convincing dialectic is sustained through detailed readings of individual poems. By preserving the possible claims of sincerity longer than postmodern criticism has tended to, while understanding sincerity in the strictest sense possible, Forbes establishes a new vantage on the purposes of poetry. Table of Contents: Introduction 1. The Personal Universal Sincerity as Integrity in the Poetry of Wordsworth and Rich 2. Before and After Sincerity as Form in the Poetry of Wordsworth, Lowell, Rich, and Plath 3. Sincerity and the Staged Confession The Monologues of Browning, Eliot, Berryman, and Plath 4. The Drama of Breakdown and the Breakdown of Drama The Charismatic Poetry of Byron and Sexton 5. Agnostic Sincerity The Poet as Observer in the Work of Keats, Bishop, and Merrill Conclusion Notes Index From the Conclusion "In spite of modern experiments in communal authorship, writing poetry remains one of the most individual of acts, and yet, because it provides the ground upon which the paradoxes of self-consciousness can move most freely, one of the acts most skeptical about the authority of any individual claim to self-understanding. . . . In undertaking its experiments, poetry may separate itself from certain contexts (economic, political, historical), but is itself as local and concrete as these contexts, an experience as well as a meditation on our experiences. In its particularity, its flexibility, its sensual and sonic complexity, its consideration of the extra-rational experiences of pleasure and desire, and above all in the ways in which it speaks with both more and less authority, more and less presence than an actual human voice, poetry offers us the experience of the unknown at the core of proposed self-knowledge. This is lyric poetry's enduring -- though not sole -- claim on us."
Poetry. Women's Studies. This masterful debut reveals for each reader new depths of nature, self, family, and world by opening our tiniest and most intimate perceptions. Colburn's poetics balances image with absence, silence with sound. These elegant poems take on the questions of our day: can we have our sweet domestic lives when the life of the planet hangs in the balance? What does it mean to create and nurture a new human being in this perilous age?
"The (Soma)tic Exercises are innovative and crucial to our art form. . . . Conrad must be one of the most original practitioners of poetry forging new territory."—The Rumpus "There was a time some of us believed poetry and poets could save the world; CAConrad never stopped believing it."—The Huffington Post From "M.I.A. ESCALATOR": The ultrasound machine gives the parents the ability to talk to the unborn by their gender, taking the intersexed nine-month conversation away from the child. The opportunities limit us in our new world. Encourage parents to not know, encourage parents to allow anticipation on either end. Escalators are a nice ride, slowly rising and falling, writing while riding, notes for the poem, meeting new people at either end, "Excuse me, EXCUSE ME. . . ." My escalator notes became a poem. CAConrad's ECODEVIANCE contains twenty-three new (Soma)tic writing exercises and their resulting poems, in which he pushes his political and ecological efforts even further. These exercises, unorthodox steps in the writing process, work to break the reader and writer out of the quotidian and into a more politically and physically aware present. In performing these rituals, CAConrad looks through a sharper lens and confirms the necessity of poetry and politics. CAConrad is the author of several books of poetry and essays. A 2014 Lannan Fellow, a 2013 MacDowell Fellow, and a 2011 Pew Fellow, he also conducts workshops on (Soma)tic poetry and Ecopoetics.
Reading Victorian Poetry “Richard Cronin’s exceptionally fine book carries out just what its title promises – reading. The pleasure of his adroit, meticulously imaginative insights into verbal and metrical effects is constant … One of the best general readings of Victorian poetry in the last ten years.” Victorian Studies “Reading Victorian Poetry will make an excellent introduction to Victorian poetry and gives a good account of a number of key issues.” English Studies Reading Victorian Poetry offers close readings of poems from the Victorian era, carefully selected by the author to reflect the breadth and diversity of nineteenth-century poetry. Richard Cronin’s outstanding consideration of a wide range of poets reflects the unusual diversity of Victorian poetry, which includes, amongst others, Elizabeth Barrett Browning, Christina Rossetti, D.G. Rossetti, and Gerard Manley Hopkins. The book investigates key concerns of the era in which poetry was ousted by the novel from the culturally central position that it had enjoyed for centuries. The result is an important and exciting contribution to the understanding of nineteenth-century poetry, and a crucial resource for anyone interested in Victorian literature.
