By Heather McHugh
"When I name poetry a kind of partiality," writes Heather McHugh, "I suggest its economies function through powers of intimation: glimmering and flickers, instead of exhaustible sums. it's a damaged language from the start, brimming with non-words: all that white welled as much as retain the road from surrendering to the margin; all that quiet, to maintain the musics marked." In damaged English, McHugh applies her poetic sensibility and bold serious perception to issues starting from the poetry of Valery and Rilke to historic Greek drama and Yoruba folks songs, providing severe, passionate, hugely own readings which are proficient and unified via her challenge for the relationships between language, tradition, and poetry.
Read or Download Broken English: Poetry and Partiality PDF
Best criticism & theory books
Texas Poet Laureate Walt McDonald has released greater than eighteen volumes of award-winning poetry. A poet of the panorama, of struggle and flying, of individuals simply operating not easy, McDonald is grasp of the important picture and sound. And he's a poet whose paintings invitations writers reminiscent of those amassed right here to discover and outline the weather that pride and fascinate.
Stefan Heym was once Hitler's youngest literary exile. This publication, the 1st full-length learn of Heym to seem in English, outlines his intriguing profession, which culminated in his turning into the most important dissident of the German Democratic Republic. It focuses totally on his journalism and his novels, a few of that have been translated into over twenty languages, but in addition discusses his earliest, virtually unknown, poetry and drama.
Even though the significance of Conrad's paintings has lengthy been famous, Jacques Berthoud makes an attempt a whole demonstration of the readability, consistency, and intensity of proposal obvious within the novels written through the first decade of this century. rather than the normal models of Conrad - from sceptical moralizer to 'metaphysician of darkness' - he deals a sad novelist, engaged in a sustained exploration of the contradictions inherent in man's kinfolk together with his fellows; and from the point of view hence completed, he's in a position to express why Conrad occupies a number one position one of the creators of contemporary literature.
The Oxford English Literary historical past is the hot century's definitive account of a wealthy and numerous literary historical past that stretches again for a millennium and extra. each one of those groundbreaking volumes bargains a number one scholar's thought of review of the authors, works, cultural traditions, occasions, and the tips that formed the literary voices in their age.
- The Dialogic Imagination: Four Essays (University of Texas Press Slavic Series)
- William Humphrey: destroyer of myths
- Around Quitting Time: Work and Middle-Class Fantasy in American Fiction (New Americanists)
- Echo Chambers: Figuring Voice in Modern Narrative
Additional info for Broken English: Poetry and Partiality
The bush is a literal location, and the poem doesn't metaphorize away a difficult question. It is stunning, immediately, for the directness of its address to the sorrow at hand. Apart from the natural analogical relation that arises between title and body of poem, there is in the poem no direct identification of the repeated "it" as the burden of death itself. Indeed, the virtue of the poem lies entirely in its refusal to abstract its object: the physical weight of the death, and not its philosophical constitution, seems at issue, and the repetition "I cannot carry" builds up great power, as if in plain linguistic illustration of a Dickinsonian numbnessin-the-face-of-death.
When the buffalo dies in the forest, something is carried into the house. But when the mouse dies in the house something is thrown into the bush. Note here first of all, in the best sense, the beating-around-the-bush. The bush is a literal location, and the poem doesn't metaphorize away a difficult question. It is stunning, immediately, for the directness of its address to the sorrow at hand. Apart from the natural analogical relation that arises between title and body of poem, there is in the poem no direct identification of the repeated "it" as the burden of death itself.
One might have imagined the grounds of the ideal to be immaterial, the stuff of spirit; but Rdke makes that vacancy take on the greatest weight. Rdke knows the burden of God's word (one need only take a look at the poem "A Prophet" to see the stresses conferred by the sacred on the mortal). Embodied, the ideal must be made of the hardest stuff, marble, something to outlast time. The immortal gets figured, paradoxically, in the densest material. Marble's story of origins has the same power for us as does the figure of the hero himself, whose shape will be made of marble's matter.