Poetry and Voice, with a foreword by means of Helen Dunmore, is a ebook of essays which fuses severe and inventive remedies of poetic voice. a few participants specialize in severe explorations of voice in paintings by way of poets equivalent to John Ashbery, Simon Armitage, Eavan Boland, Carol Ann Duffy, Arun Kolatkar, Don McKay and Dragica Rajčić, and at the musical voices of the lyric culture and of poetry itself. Vicki Feaver, Jane Griffiths, Philip Gross, Waqas Khwaja, Lesley Saunders and David Swann give some thought to their very own poetic strategies of composition, and the improvement of the voices of youth, previous age, migration, panorama, bilinguality, and imprisonment. Laurel Cohen-Pfister and Tatjana Bijelić research the character of poetic voice in exile, the necessity for clean voices after struggle and new areas during which poetic voices could be heard. during this foreign assortment, the participants supply infrequent and beneficiant insights into internal poetic procedures and exterior results. They interact with inventive debates approximately constructing, wasting and appropriating voice in poetry and process the query of what's ‘finding a voice’ in poetry from a number of angles.
The publication will curiosity literary critics, poets, academics, and undergraduate and postgraduate scholars of literature, poetry and artistic writing.
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Additional resources for Poetry and Voice: A Book of Essays
Sample text
They asked when they returned, hours later, to find me sitting in the dark, shivering with fear and cold. They probably didn’t expect to be so long. They knew I was terrified of the dark, but maybe I had never told them of my nightmare about the witches. Finding a Voice to Write about Childhood 35 THE WITCHES My sister’s screams brought Mummy running: Did you push her? They drove to the hospital leaving me alone in the house. I read a book by the window. until I couldn’t see the words. Too scared to turn on the light I watched ghostly white roses disappear into the dark.
The pattern of rhyme and rhythm and melody provided a raft which carried the voice though the poem. Finding a Voice to Write about Childhood MUSIC AND GOD The only light in the dark church shines on a hymn book’s notes and words: my father in the organ loft coaxing the keys to solemn chords. I sit beside him on the stool so close I smell his sour breath. His long thin feet jab out the bass. He whistles softly through his teeth. And now he’s adding numbers up, long columns in his spidery hand. It’s Saturday, his one day off; his migraine’s like an iron band.
That they were written at the moment when this could not be done in speaking voices is the point, the paradox. The poem quoted above is the second in the book. The preceding poem makes it clear that conversation is already nearly out of reach. 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.