Free Download The Making of a Poem: A Norton Anthology of Poetic Forms, by Eavan Boland Mark Strand

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Review

“A generous and exquisitely selective anthology of poetry forms that may make you decide to give up E-mail and start writing sestinas and villanelles.” - Francine Prose, Elle“A marvelous new anthology... intended for readers daunted by terminology and complex poetic forms.” - Milwaukee Journal Sentinel“This is the book writers and readers, teachers and students, have been dreaming of―canny, generous, and practical, Boland and Strand are ideal guides through the golden labyrinth of poetry at its most ingenious and commanding. A marvelous collection!” - J.D. McClatchy“Much more poetry than commentary appears, making the book both a splendid classroom text and, since the selections are top-drawer poems by first-rate poets, a book any poetry lover or would-be poetry lover may learn from and love.” - Booklist

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From the Author

In the words of its editors, The Making of a Poem "looks squarely at some of the headaches and mysteries of poetic form." Here, two of our foremost poets provide a lucid, straightforward primer for those who have always felt that an understanding of form—sonnet, ballad, villanelle, sestina, etc.—would enhance their appreciation of poetry. By example and explanation, the anthology traces "the exuberant history of forms," a history that unites poets as diverse as John Keats and Joy Harjo (the Ode) or Geoffrey Chaucer and Jean Toomer (the Stanza). Each chapter is devoted to one form, offering explanation, close reading, and a rich selection of exemplars that amply demonstrate the power and possibility of the form.

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Product details

Series: Norton Anthology

Paperback: 400 pages

Publisher: W. W. Norton & Company; Reprint edition (April 17, 2001)

Language: English

ISBN-10: 0393321789

ISBN-13: 978-0393321784

Product Dimensions:

5.7 x 1.1 x 9 inches

Shipping Weight: 1.2 pounds (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

74 customer reviews

Amazon Best Sellers Rank:

#20,266 in Books (See Top 100 in Books)

Much of my reading this period has been that of actual poetry. From this beginning introduction to the reach and range of voice in poems I have entered a boundary-less and fantastical world. A world of structure, no structure, metaphor, rhythm, sometimes rhyme, line lengths, space, beginnings, and endings. Reading the work of other poets has been an education for me in the unlimited possibilities in the use of language.I have also consumed books on the meaning of poetry, the place of poetry in time and culture, the evolution of styles, poetry as a digital entity, and various views on what is and is not a poem. These often set foot into the realm of theory, of strict definition, of world views as technical or humanist. I found C.P. Snow’s premise of there being two basic cultures, one technical/rational, the other humanist/emotional, fascinating. His placement of poetry in the technical/rational camp was a surprise to me (more on this later in the semester). I have read about what poetry ‘should’ consist of and about the eternal vitality and power of words.What made The Making of a Poem stand out for me was its insistent assertion that poetry itself, requires formal practice. The authors hold firm their assertion that while talent is a basic requirement for a poet, “curiosity, determination, and the willingness to learn from others” (p. xi) must also be cultivated. They present a book which offers exercise after exercise for the poet to develop both a practice and a voice for their work.Behn and Twitchell divided their book into seven sections. Each section delineated a specific theme and within the sections are exercises and reflections on meaning. The authors state that “Poetry, like any art, required practice.” They go on to say that:Good exercises are provocative, challenging, and often entertaining. A good exercise will engage you on at least several levels, and should necessitate the breaking of new ground. (p. xiii)I initially approached their premise with moderate skepticism, reading into the title a “Poetry for Dummies” approach to the art. I was dubious of the value of a trial and error, cookbook approach to writing a poem. My exalted view of poetry excluded any interest in considering banal exercises as a necessary component of being a poet. Yet this book consists of exercise after exercise created by a range of respected poets who have used variants of these in their teaching of poetry. As Behn and Twichell clearly state in their introduction:The aspiring poet must apprentice him or herself, must master the elements of language, the complexities of form and its relation to subject, the feel of the line, the image, the play of sound, that makes it possible to respond in a voice with subtlety and range where he hears music in his inner ear, or she sees in the world that image that’s the spark of a poem (p. xi).The sections of the book are grouped based on the area of inquiry, as opposed to level of poetic expertise. This approach enables poets at any level of experience to pick and choose their own level of interest and/or difficulty. I found Part 1 “Ladders to the Dark” to be very useful in its approaches and prompts to just getting ink to page. Other sections consisted of attention to objects, aspects of voice, making use of the intuitive and the non-rational mind, structural possibilities, experimentation with rhyme, lineation, and rhythm, and finally, Part 7 “Major and Minor Surgery.”Entering into the spirit of the book, I began to leaf through its many exercises and try them out for myself. The remainder of this paper will focus on some examples I worked on and my assessment of the ‘practice’ of poetry writing.Part 1 “Ladders to the Dark,” focuses on the importance of mining the unconscious for material. Rita Dove offers “the ten-minute spill” where the writer creates a 10-line poem which must include a proverb or adage, and use 5 of the 8 words she supplies for the student (cliff, needle, voice, whir, blackberry, cloud, mother, lick).To know oneIt takes oneMotherHanging on a cliffThe needle whir of cloud voicesUrgentCompelling meTo be oneTo hide oneTo find oneIn Part 2, “The Things of the World,” attention is focused on the object itself. How to approach the object, personify (or not) it, how to make it concrete or illusive, strange or familiar. One exercise here was to write a poem that is merely a list of things: One quail in a bevy of quails One swan in a lamentation of swans One kangaroo in a troop of kangaroosOne strumpet in a fanfare of strumpetsOne patient in a virtue of patientsA bloat of hippotamiA fluther of jellyfishAn exhaltation of larksOut of these, the world is born.Another exercise was to remember a person you know well and describe the person’s hands. Here the object was to explore unique ways to view a common thing or experience which gives a sense of character to that thing.Utile and strongDigits not yet frozen by arthritisSkin not yet spotted by ageVeins, pronouncedKnuckles, tidyHands like breathing tokens of kindness and milkWhile these exercises may seem elementary, they are not easy. Whether the poem is to tell a story, contain a feeling, or describe a mundane object, I realized that thought, syntax, adjectives, and nouns required care and then more care. To have the poem breathe, the words need to resonate and sentences/lines must convey and aspect or feeling of a life. These exercises prompt the exploration of language and sound, thinking about metaphor and repetition. The exercises further create food for thought and for writing especially on days when creativity is skulking on one of Dante’s grim paths.Other exercises in this book included trying out different ‘types’ of poems. Part 6, “Laws of the Wild,” emphasized structure, shape, and organization of the poem. I tried writing a villanelle which was a complicated and frustrating task. I found it very difficult to fit words to line numbers, rhyme pattern, and repetition. I wonder why Dylan Thomas chose this form.

This is a very well-organized introduction to the various forms of poetry, as well as a solid overview of the history and development of poetry throughout the world. The book has no strong ideological bias, but does a good job of presenting conflicting schools of thought when it comes to where and how artists differ on what they believe to be good or bad poetry. For some people rhyming is passe, a vestige of another century. For others, nothing is quite as easy or fruitless as free verse (sometimes confused with blank verse).You can tell much thought went into the selection not only of which poets to include, but which of their shorter poems would serve as the best representation of their work to a new audience. From Chaucer to Ginsberg to Angelou, samples of work and accompanying bios achieve a breezy quality without being glib. This is the kind of book that anyone interested in poetry can enjoy and appreciate, and come back to after reading, whether you're just a precocious high-school student or a Nobel Laureate.I thoroughly enjoyed it and have no complaints. And since I'm a churlish, contentious chap by disposition that means someone went the extra mile while creating this book. Highest recommendation.

I like this book, overall.After finding the hardback in a local used bookstore, I ordered a paperback copy through Amazon and subsequently adopted it as one of my Literary Genres course texts. Strand and Boland don't seem entirely content with the book, given their restrictive principles of selection, and probably no genres teacher will find it entirely sufficient. The text gives introductions to some popular closed forms (villanelles, sestinas, sonnets, pantoums, and ballads, as well as heroic couplets, stanza types, and blank verse), "shaping forms (odes, elegies, and pastorals), open forms (free verse poems), and meter.The primary weakness of the book for my classes is that it doesn't supply footnotes to poems with topical, mythic, and literary allusions that inevitably require explanation for contemporary understanding, classroom or otherwise. This editorial decision is different to most Norton Anthologies I am familiar with. Some of Strand and Boland's introductions seem, to my taste, wordy and theatrical, especially in contrast to their helpful "At a Glance" modules that clearly explain each genre and which begin each chapter.On a positive note, and my opinion of the book is far more positive than negative, the poems are presented in a, typically, chronological sequence and thus illustrate a historical-development conception of the genres while throwing a spotlight on issues of canonicity and sheer intertextuality. The font size is appropriate, a problem with a number of those tiny-print thoroughly-footnoted Norton anthologies I reference above. If Norton were tailoring the volume to actual literary genres classes, it might instate footnotes, update biographies, and represent some more genres. Could we have some ghazals,epigrams, suras, ruba'iayat, psalms, haiku, etc.? Could they fit a short epic or verse romance in there?

I thought there would be a whole lot more poetic forms in this book for it's size. Here are the forms you get:- villanelle- sestina- pantoum- sonnet- ballad- blank verse- heroic couplet- stanza- meter- elegy- pastoral- ode- open formThere are some decent examples for these forms, but a simple A,B,A,B rhyme template is not shown. Instead, they are described. I found myself googling the template forms of all the above (where rhyming was present). I was expecting that type of simplicity... as well as some well known forms: cinquain, concrete, haiku, black out/ erasure... so if you are too... look elsewhere.

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