By Stephanie Norgate
Poetry and Voice, with a foreword through Helen Dunmore, is a booklet of essays which fuses serious and inventive remedies of poetic voice. a few individuals concentrate on serious explorations of voice in paintings through poets comparable to John Ashbery, Simon Armitage, Eavan Boland, Carol Ann Duffy, Arun Kolatkar, Don McKay, and at the musical voices of the lyric culture and of poetry itself. Poets, comparable to Vicki Feaver, Jane Griffiths, Philip Gross, Waqas Khwaja, Lesley Saunders and David Swann consider their very own poetic tactics of composition, and the advance of the voices of adolescence, outdated age, migration, panorama, bilinguality, and imprisonment. Writers comparable to Laurel Cohen-Pfister and Tatjana Bijelic research the character of poetic voice in exile, the necessity for clean voices after battle and new areas during which poetic voices should be heard. during this foreign assortment, the individuals provide infrequent and beneficiant insights into internal poetic approaches and exterior results. They have interaction with inventive debates approximately constructing, wasting and appropriating voice in poetry and strategy the query of what's 'finding a voice' in poetry from a number of angles. The ebook could be of curiosity across the world to literary critics, poets, teachers, and undergraduate and postgraduate scholars of English literature, poetry and artistic writing
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Additional resources for Poetry and Voice : a Book of Essays
Sample text
Already the 40 Chapter Three business of words is deeply ambivalent, anything but transparent. They might be the screen that comes between us, or the lens through which a rare clear image might come... (9) Word-people of a certain age will remember the name Ximenes, setter of a certain murderous crossword—the kind that the absence of definite clues made almost metaphysical. That’s where, when I was young, my father would immerse himself for whole Sunday afternoons. And that’s where I am trying to find him, in the maze of language, now.
Here I abandoned the story of the fairytale but I kept the voice I'd created: the voice of an actress whose witty and polished performance conceals her inner despair: I got my mother to make me a scarlet dress. (I didn’t care that Grandma said it made me look like a tart). Chapter Two 28 I stole a lipstick— the sizzling vermilion that made boys and old men look. I squeezed into ruby high heels that on hot days filled with blood. I drank tumblers of pink gin and told my sister (sent to spy on me) it was Cherryade.
Purpose? or some bully with a few insignia and the right to tell this shamble of Ostlanders (not Aryan but not Slav-subhuman) what purpose they serve. The word looks on, beyond translation. (53) I am not building a story in the form we are very used to, which may be a cliché of our age, where a personal trauma, a secret revealed, makes sense of everything. My father’s speechlessness was caused not by buried memories, though there are terrible ones there. That some wartime material that he carried with him, tactfully, for sixty years did emerge through the gaps in his language gave us points of contact we had not quite touched before, but the crude fact is that brains shrink with age and lose connections with stroke damage.