Next Word, Better Word: the craft of writing poetry by Stephen DobynsThis accessible writer's guide provides a helpful framework for creating poetry and navigates contemporary concerns and practices. Stephen Dobyns, author of the classic book on the beauty of poetry,Best Words, Best Order, moves into new terrain in this remarkable book. Bringing years of experience to bear on issues such as subject matter, the mechanics of poetry, and the revision process, Dobyns explores the complex relationship between writers and their work. From Philip Larkin to Pablo Neruda to William Butler Yeats, every chapter reveals useful lessons in these renowned poets' work. Both enlightening and encouraging,Next Word, Better Word demystifies a subtle art form and shows writers how to overcome obstacles in the creative process.
Call Number: PN1059.A9 D63 2011
A Poet's Craft: a comprehensive guide to making and sharing your poetry by Annie Ridley Crane FinchA Poet's Craft transcends the limitations of current books, combining the best of three types of poetry-writing guides: textbooks for academic use, general guides to writing poetry, and guides to writing in form. Like textbooks, it includes poetry-writing exercises and discussion of classic and contemporary poems as examples, and is logically organized to provide a complete overview of the elements of poetry writing, from diction to trope to free verse. Like general poetry guides, it has a tone lively and mature enough for the nonundergraduate, and includes sections on journaling and inspiration, revision, publishing, and even how to assemble a poetry book. Like form guides, A Poet's Craft provides an introduction to meter and to writing formal poetry. Finch's book goes further than any poetry-writing guide now available to give readers a thorough, eclectic, and exciting introduction to every aspect of the art of poetry.
Call Number: PN1059.A9 F56 2012
A Poet's Ear: a handbook of meter and form by Annie FinchPraise for Annie Finch "A self-proclaimed 'postmodern poetess,'" Annie Finch lives up to the moniker, presenting a simultaneously thorough and mercurial array of musings on poetics focusing on form and meter, remaining three beats ahead of the rank-and-file herd of traditional prosodists.” --Art New England For beginning or advanced students of poetry focused on the art of structuring a poem, A Poet’s Ear serves as a handbook to writing in numerous fixed forms. Here, Annie Finch’s remarkably in-depth introduction to poetic form in English opens a new and exciting world to contemporary poets. From the basic meters and traditional European forms of the ballad and the sonnet to poetic forms brought to English from worldwide cultures and postmodern forms and techniques, A Poet’s Ear serves as both a survey and a guide to the exploration of poetic form. More diverse and comprehensive than any other form handbook, A Poet’s Ear will be essential to the serious student of poetry.
Ted Kooser has been writing and publishing poetry for more than forty years. In the pages of The Poetry Home Repair Manual, Kooser brings those decades of experience to bear. Here are tools and insights, the instructions (and warnings against instructions) that poets--aspiring or practicing--can use to hone their craft, perhaps into art. Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry's ultimate purpose: to reach other people and touch their hearts. Much more than a guidebook to writing and revising poems, this manual has all the comforts and merits of a long and enlightening conversation with a wise and patient old friend--a friend who is willing to share everything he's learned about the art he's spent a lifetime learning to execute so well.
Singing School: learning to write (and read) poetry by studying with the masters by Robert PinskyQuick, joyful, and playfully astringent, with surprising comparisons and examples, this collection takes an unconventional approach to the art of poetry. Instead of rules, theories, or recipes, Singing School emphasizes ways to learn from great work: studying magnificent, monumentally enduring poems and how they are made— in terms borrowed from the “singing school” of William Butler Yeats’s “Sailing to Byzantium.” Robert Pinsky’s headnotes for each of the 80 poems and his brief introductions to each section take a writer’s view of specific works: William Carlos Williams’s “Fine Work with Pitch and Copper” for intense verbal music; Emily Dickinson’s “Because I Could Not Stop for Death” for wild imagination in matter-of-fact langua≥ Robert Southwell’s “The Burning Babe” for surrealist aplomb; Wallace Stevens’s “The House Was Quiet and the World Was Calm” for subtlety in meter. Included are poems by Aphra Behn, Allen Ginsberg, George Herbert, John Keats, Mina Loy, Thomas Nashe, and many other master poets. This anthology respects poetry’s mysteries in two senses of the word: techniques of craft and strokes of the inexplicable.