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Many people in Great Britain and the United States can recall elderly relatives who remembered long stretches of verse learned at school decades earlier, yet most of us were never required to recite in class.Heart Beatsis the first book to examine how poetry recitation came to assume a central place in past curricular programs, and to investigate when and why the once-mandatory exercise declined. Telling the story of a lost pedagogical practice and its wide-ranging effects on two sides of the Atlantic, Catherine Robson explores how recitation altered the ordinary people who committed poems to heart, and changed the worlds in which they lived. Heart Beatsbegins by investigating recitation's progress within British and American public educational systems over the course of the nineteenth and twentieth centuries, and weighs the factors that influenced which poems were most frequently assigned. Robson then scrutinizes the recitational fortunes of three short works that were once classroom classics: Felicia Hemans's \"Casabianca,\" Thomas Gray's \"Elegy Written in a Country Churchyard,\" and Charles Wolfe's \"Burial of Sir John Moore after Corunna.\" To conclude, the book considers W. E. Henley's \"Invictus\" and Rudyard Kipling's \"If--,\" asking why the idea of the memorized poem arouses such different responses in the United States and Great Britain today. Focusing on vital connections between poems, individuals, and their communities,Heart Beatsis an important study of the history and power of memorized poetry.

Imagined Homelands chronicles the emerging cultures of nineteenth-century British settler colonialism, focusing on poetry as a genre especially equipped to reflect colonial experience. Jason Rudy argues that the poetry of Victorian-era Australia, New Zealand, South Africa, and Canada—often disparaged as derivative and uncouth—should instead be seen as vitally engaged in the social and political work of settlement. The book illuminates cultural pressures that accompanied the unprecedented growth of British emigration across the nineteenth century. It also explores the role of poetry as a mediator between familiar British ideals and new colonial paradigms within emerging literary markets from Sydney and Melbourne to Cape Town and Halifax. Rudy focuses on the work of poets both canonical—including Tennyson, Browning, Longfellow, and Hemans—and relatively obscure, from Adam Lindsay Gordon, Susanna Moodie, and Thomas Pringle to Henry Kendall and Alexander McLachlan. He examines in particular the nostalgic relations between home and abroad, core and periphery, whereby British emigrants used both original compositions and canonical British works to imagine connections between their colonial experiences and the lives they left behind in Europe. Drawing on archival work from four continents, Imagined Homelands insists on a wider geographic frame for nineteenth-century British literature. From lyrics printed in newspapers aboard emigrant ships heading to Australia and South Africa, to ballads circulating in New Zealand and Canadian colonial journals, poetry was a vibrant component of emigrant life. In tracing the histories of these poems and the poets who wrote them, this book provides an alternate account of nineteenth-century British poetry and, more broadly, of settler colonial culture.

\"Because I am not silent,\" George Oppen wrote, \"the poems are bad.\" What does it mean for the goodness of an art to depend upon its disappearance? InBeing Numerous, Oren Izenberg offers a new way to understand the divisions that organize twentieth-century poetry. He argues that the most important conflict is not between styles or aesthetic politics, but between poets who seek to preserve or produce the incommensurable particularity of experience by making powerful objects, and poets whose radical commitment to abstract personhood seems altogether incompatible with experience--and with poems. Reading across the apparent gulf that separates traditional and avant-garde poets, Izenberg reveals the common philosophical urgency that lies behind diverse forms of poetic difficulty--from Yeats's esoteric symbolism and Oppen's minimalism and silence to O'Hara's joyful slightness and the Language poets' rejection of traditional aesthetic satisfactions. For these poets, what begins as a practical question about the conduct of literary life--what distinguishes a poet or group of poets?--ends up as an ontological inquiry about social life: What is a person and how is a community possible? In the face of the violence and dislocation of the twentieth century, these poets resist their will to mastery, shy away from the sensual richness of their strongest work, and undermine the particularity of their imaginative and moral visions--all in an effort to allow personhood itself to emerge as an undeniable fact making an unrefusable claim.

Shortlisted for the Phi Beta Kappa Society’s Christian Gauss Award. The poet Langston Hughes was a tireless world traveler and a prolific writer, translator, and editor. Translations of his own writings traveled even more widely than he did, earning him adulation throughout Europe, Asia, and especially the Americas. This study contends that, for writers who are part of the African diaspora, translation is more than just a literary practice: it is a fact of life and a way of thinking. “Kutzinski has given us one of the very best analyses and evaluations of Hughes's seminal texts. We observe him at work translating, but we also see his works being translated. Kutzinski, a preeminent polylingual comparativist who knows the literatures of the African diaspora as well as anyone, brings a keen understanding of both race and ethnicity to her overarching discussion. She has written an exemplary work, which will be widely influential.\"—John Lowe, Louisiana State University

By what narrow path is the ineffable silence of Zen cleft by the scratch of a pen? The distilled insights of forty years, Norman Fischer’s Experience: Thinking, Writing, Language, and Religion is a collection of essays by Zen master Fischer about experimental writing as a spiritual practice.   Raised in a Conservative Jewish family, Fischer embraced the twin practices of Zen Buddhism and innovative poetics in San Francisco in the early 1970s. His work includes original poetry, descriptions of Buddhist practice, translations of the Hebrew psalms, and eclectic writings on a range of topics from Homer to Heidegger to Kabbalah. Both Buddhist priest and participant in avant-garde poetry’s Language movement, Fischer has limned the fertile affinities and creative contradictions between Zen and writing, accumulating four decades of rich insights he shares in Experience .   Fischer’s work has been deeply enriched through his collaborations with leading rabbis, poets, artists, esteemed Zen Buddhist practitioners, Trappist monks, and renowned Buddhist leaders, among them the Dalai Lama. Alone and with others, he has carried on a deep and sustained investigation into the intersection of writing and consciousness as informed by meditation.   The essays in this artfully curated collection range across divers, fascinating topics such as time, the Heart Sutra, God in the Hebrew psalms, the supreme “uselessness” of art making, “late work” as a category of poetic appreciation, and the subtle and dubious notion of “religious experience.” From the theoretical to the revealingly personal, Fischer’s essays, interviews, and notes point toward a dramatic expansion of the sense of religious feeling in writing.   Readers who join Fischer on this path in Experience can discover how language is not a description of experience, but rather an experience itself: shifting, indefinite, and essential.

01 02 Sean Heustonanalyzes the works of W.B. Yeats, Robert Frost, Robert Penn Warren, and Seamus Heaney throughinterdisciplinary analysis, specifically ethnography, in order to argue provocatively for the intersection of modern poetry studies and contemporary ethnographic theory. 13 02 Sean Heuston isan associate professor of English atThe Citadel. 04 02 Off With the Fairies: W.B. Yeats, Ethnography, and Identifiction * The Virtue of Fact and the Truth of Fiction: Robert Frost and Literary Ethnography * \"I knew that world\": Robert Penn Warren's Southern Ethnography * Making Strange: Seamus Heaney and Literary Ethnography 19 02 NOVEL: Ethnography is rarely applied to literature, this is an innovative approach. GLOBAL: Sheds new light on poetry through its interrogation of regionalism, nationalism, and transnationalism. BROAD SCOPE: Will appeal to students and scholars of British, Irish, and American literature, as well as Southern literature, modern and contemporary poetry, and critical theory . 02 02 This study maps a new approach to the works of W.B. Yeats, Robert Frost, Robert Penn Warren, and Seamus Heaney. Sean Heuston combines interdisciplinary analysis, specifically ethnography, with close reading, and in so doing argues provocatively for the intersection of modern poetry studies and contemporary ethnographic theory. 

Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the \"I\" in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric \"I\" speaks, from first to last, as a creation of poetic language.

Over the last thirty years, more and more critics and scholars have come to recognize the importance of science to literature. 'Science in Modern Poetry: New Directions' is the first collection of essays to focus specifically on what poets in the twentieth and twenty-first centuries have made of the scientific developments going on around them. In a collection of twelve essays, leading experts on modern poetry and on literature and science explore how poets have used scientific language in their poems, how poetry can offer new perspectives on science, and how the 'Two Cultures' can and have come together in the work of poets from Britain and Ireland, America and Australia. What does the poetry of a leading immunologist and a Nobel-Prize-winning chemist tell us about how poetry can engage with science? Scientific experiments aim to yield knowledge, but what do the linguistic and formal experiments of contemporary American poets suggest about knowledge in their turn? How can universities help to bring these different experimental cultures and practices together? What questions do literary critics need to ask themselves when looking at poems that respond to science? How did developments in biology between the wars shape modernist poetry? What did William Empson make of science fiction, Ezra Pound of the fourth dimension, Thomas Hardy of anthropology? How did modern poets from W. B. Yeats to Elizabeth Bishop and Judith Wright respond to the legacy of Charles Darwin? This book aims to answer these questions and more, in the process setting out the state of the field and suggesting new directions and approaches for research by students and scholars working on the fertile relationship between science and poetry today.

Exploring poetry scrapbooks, old-time radio show recordings, advertising verse, corporate archives, and Hallmark greeting cards, among other unconventional sources, Mike Chasar casts American poetry as an everyday phenomenon consumed and created by a vast range of readers. He shows how American poetry in the first half of the twentieth century and its reception helped set the stage for the dynamics of popular culture and mass media today. Poetry was then part and parcel of American popular culture, spreading rapidly as the consumer economy expanded and companies exploited its profit-making potential. Poetry also offered ordinary Americans creative, emotional, political, and intellectual modes of expression, whether through scrapbooking, participation in radio programs, or poetry contests. Reenvisioning the uses of twentieth-century poetry, Chasar provides a richer understanding of the innovations of modernist and avant-garde poets and the American reading public's sophisticated powers of feeling and perception.

An exploration of the later work of Geoffrey Hill, often described as 'the greatest living poet' in his lifetime. This book reads, interprets, evaluates, and sets in context the work of Hill's prolific later period from 1996 to 2016, the year of his death.