"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--

This anthology fills the need for a comprehensive, up-to-date collection of the most important contemporary writings on the English romantic poets. During the 1980s, many theoretical innovations in literary study swept academic criticism. Many of these approaches--from deconstructive, new historicist, and feminist perspectives--used romantic texts as primary examples and altered radically the ways in which we read. Other major changes have occurred in textual studies, dramatically transforming the works of these poets. The world of English romantic poetry has certainly changed, and Romantic Poetry keeps pace with those changes. Karl Kroeber and Gene W. Ruoff have organized the book by poet--Blake, Wordsworth, Coleridge, Byron, Shelly, and Keats--and have included essays representative of key critical approaches to each poet's work. In addition to their excellent general introduction, the editors have provided brief, helpful forewords to each essay, showing how it reflects current approaches to its subject. The book also has an extensive bibliography sure to serve as an important research aid. Students on all levels will find this book invaluable.

Tracing the rise of literary self-consciousness from the Elizabethan period to his own day, Eliot invites us to "start with the supposition that we do not know what poetry is, or what it does or ought to do, or of what use it is; and try to find out, in examining the relation of poetry to criticism, what the use of both of them is."

The discussion of each poem attends to the complexity of the poem's utterance, its historical contexts, and its broader implications for cultural meaning.Victorian Literature and Culture Series

Explores the intricate relationships of postmodern poetics to the culture of network television, advertising layout, and the computer. Perloff argues that poetry today, like the visual arts and theater, is always "contaminated" by the language of mass media. Among the many poets Perloff discusses are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, Steve McCaffery, and preeminently, John Cage--Publisher.

Dalzell presents three of the major didactic poems in the classical canon: the De rerum natura of Lucretius, the Georgics of Virgil, and the Ars amatoria of Ovid, considering what tools are available for their understanding.

This engaging volume provides readers with the essential criticism on nineteenth-century poetry, organised around key areas of debate in the field. The critical texts included in this volume reflect both a traditional and modern emphasis on the study of poetry in the long nineteenth century. These are then tied up by a newly written essay summarising the ideas and encouraging further study and debate. The book includes: sections on Periodization; 'What is Poetry?'; Politics; Prosody; Forms; Emotion, feeling, affect; Religion; Sexuality; and Science work by writers such as William Wordsworth, S. T. Coleridge, Percy Shelley, Christina Rossetti, Matthew Arnold and Gerard Manley Hopkins critics and historians including Isobel Armstrong, Richard Cronin, Jason Rudy, Joseph Bristow and Gillian Beer Detailed introductions and critical commentary by Francis O'Gorman, Rosie Miles, Stefano Evangelisto, Natalie Hoffman, Martin Dubois, Gregory Tate Providing both the essential criticism along with clear introductions and analysis, this book is the perfect guide to students who wish to engage in the exciting criticism and debates of nineteenth-century poetry.

"First published in a slight different form in Great Britain in 2019 by Profile Books Ltd."--Title page verso.

A collection of reviews and essays by David Orr, the New York Times poetry columnist and one of the most respected critics in America today, his best work of the past fifteen years in one place Poetry is never more vital, meaningful, or accessible than in the hands of David Orr. In the pieces collected here, most of them written originally for the New York Times, Orr is at his rigorous, conversational, and edifying best. Whether he is considering the careers of contemporary masters, such as Louise Glück or Frederick Seidel, sizing up younger American poets, like Matthea Harvey and Matthew Zapruder, or even turning his attention to celebrities and public figures, namely Oprah Winfrey and Stephen Fry, when they choose to wade into the hotly contested waters of the poetry world, Orr is never any less than fully persuasive in arguing what makes a poem or poet great—or not. After all, as Orr points out in his introduction, “Poetry is a lot like America, in the sense that liking all of it means that you probably shouldn’t be trusted with money, or scissors.” Orr’s prose is devoted to common sense and clarity, and, in every case, he brings to bear an impeccable ear, an openhandedness of spirit, and a deep wealth of technical knowledge—to say nothing of his shrewd sense of humor. As pleasurable as it is informative, Orr’s journalism represents a high watermark in the public discussion of literature. You, Too, Could Write a Poem is at heart a love note to poetry itself.