Drawing extensively on archival research, The Late Cantos of Ezra Pound critically explores the textual history of Pound's late verse, namely Section: Rock-Drill (1955) and Thrones (1959). Examining unpublished letters, draft manuscripts and other prepublication material, this book addresses the composition, revision and dissemination of these difficult texts in order to shed new light on their significance to Pound's wider project, his methods and techniques, and the structures of authority -literary and political-that govern the meaning of his poetry. Illustrated by reproductions of archival documents, The Late Cantos of Ezra Pound is an innovative new study of one of the most important poets of the 20th century.

An exploration of the burgeoning field of Anglophone Asian diaspora poetry, this book draws on the thematic concerns of Hong Kong, Asian-American and British Asian poets from the wider Chinese or East Asian diasporic culture to offer a transnational understanding of the complex notions of home, displacement and race in a globalised world. Located within current discourse surrounding Asian poetry, postcolonial and migrant writing, and bridging the fields of literary and cultural criticism with author interviews, this book provides close readings on established and emerging Chinese diasporic poets' work by incorporating the writers' own reflections on their craft through interviews with some of those featured. In doing so, Jennifer Wong explores the usefulness and limitations of existing labels and categories in reading the works of selected poets from specific racial, socio-cultural, linguistic environments and gender backgrounds, including Bei Dao, Li-Young Lee, Marilyn Chin, Hannah Lowe and Sarah Howe, Nina Mingya Powles and Mary Jean Chan. Incorporating scholarship from both the East and the West, Wong demonstrates how these poets' experimentation with poetic language and forms serve to challenge the changing notions of homeland, family, history and identity, offering new evaluations of contemporary diasporic voices.

Claudia Brodsky marshals her equal expertise in literature and philosophy to redefine the terms and trajectory of the theory and interpretation of modern poetry. Taking her cue from Wordsworth's revolutionary understanding of "real language," Brodsky unfolds a provocative new theory of poetry, a way of looking at poetry that challenges traditional assumptions. Analyzing both theory and practice, and taking in a broad swathe of writers and thinkers from Wordsworth to Rousseau to Hegel to Proust, Brodsky is at pains to draw out the transformative, active, and effective power of literature. Poetry, she says, is only worthy of the name when it is not the property of the poet but of society, when it is valued for what it does. Words' Worth is a bold new work, by a leading scholar of literature, which demands a response from all students and scholars of modern poetry.

Written in the late-twelfth century, the Old French Romance of Tristran by Beroul is one of the earliest surviving versions of the story of Tristran and Iseut. Preserved in only one manuscript, the poem records the tragic tale that became one of the most popular themes of medieval literature, in several languages. This volume is a comprehensive and up-to-date presentation of the story, including the first ever diplomatic edition of the text, replicating the exact state of the original manuscript. It also contains a new critical edition, complemented by extensive notes and a brief analytic preface. Edited by noted medievalist Barbara N. Sargent-Baur, The Romance of Tristran by Beroul and Beroul II: A Diplomatic Edition and a Critical Edition will be an essential resource for specialists interested in the study of this important text. An English translation of the Old French text appears in The Romance of Tristran by Beroul and Beroul II: Student Edition and English Translation.

John Kasper was a militant far-right activist who first came to prominence with his violent campaigns against desegregation in the Civil Rights era. Ezra Pound was the seminal figure in Anglo-American modernist literature and one of the most important poets of the 20th century. This is the first book to comprehensively explore the extensive correspondence - lasting over a decade and numbering hundreds of letters - between the two men. John Kasper and Ezra Pound examines the mutual influence the two men exerted on each other in Pound's later life: how John Kasper developed from a devotee of Pound's poetry to an active right-wing agitator; how Pound's own ideas about race and American politics developed in his discussions with Kasper and how this informed his later poetry. Shedding a disturbing new light on Ezra Pound's committed engagement with extreme right-wing politics in Civil Rights-era America, this is an essential read for students of 20th-century literature.

Comic poetry is serious stuff, combining incongruity, satire and psychological effects to provide us a brief victory over reason that could help us save ourselves, if not the world. Taking a theoretical perspective, this book champions the literary movement of American comic poetry, providing historical context and exploring the work of such writers as Denise Duhamel, Campbell McGrath, Billy Collins, Thomas Lux and Tony Hoagland. The techniques of these poets are examined to reveal how they make us laugh while addressing important social concerns.

In this study 'Art, Poetry and WW1, by Edward Lucue-Smith of writing, poetry and painting In the Centenary Year of the outbreak of the First World War the author considers the historical impact on the general psyche of the calamitous events, reflected in the expression of poets and visual artists. The volume includes Eric Kennington, CRW Nevinson, John Singer Sargent, William Orpen, Stanley Spencer and Paul Nash; and writers Siegfried Sassoon, Isaac Rosenberg, Wilfred Owen, Edward Thomas and T.S. Eliot. In Europe the painters: Otto Dix, Max Beckman, Franz Marc, Gino Severini, Ernst Ludwig Kirchner, Ludwig Meidner. He establishes a continuity to the theme with reference to works by Velazquez, Watteau, Goya and others, in their treatment of the spectacle of battle and the horrors of human conflict.

Meng Haoran (689-740) was one of the most important poets of the "High Tang" period, the greatest age of Chinese poetry. In his own time he was famous for his poetry as well as for his distinctive personality. This is the first complete translation into any language of all his extant poetry. Includes original Chinese texts and English translation on facing pages.

This compendium of poems by Gerard Manley Hopkins includes his most famous works, together with a careful selection of his most critically acclaimed verses. Hopkins is one of the Victorian era's best appreciated poets, gaining much of his fame for his unique and religiously inspired subjects. A committed Jesuit, his poems were notable for including a technique of Hopkins' own invention named sprung rhythm. This connotes verse which is designed to imitate the patterns and pace of typical human speech. By 1918, when this collection of Hopkins' poetry first appeared, he had gained much renown. To emphasise that several of the entries had never been published previously, the subtitle of 'Now First Published' was appended. This and other anthologies helped introduce the talents of Hopkins to a wider audience, cementing his status in England's literary pantheon.

This book sets out to navigate questions of the future of Australian poetry. Deliberately designed as a dialogue between poets, each of the four clusters presented here-"Indigeneities"; "Political Landscapes"; "Space, Place, Materiality"; "Revising an Australian Mythos"-models how poetic communities in Australia continue to grow in alliance toward certain constellated ideas. Exploring the ethics of creative production in a place that continues to position capital over culture, property over community, each of the twenty essays in this anthology takes the subject of Australian poetry definitively beyond Eurocentrism and white privilege. By pushing back against nationalizing mythologies that have, over the last 200 years since colonization, not only narrativized the logic of instrumentalization but rendered our lands precarious, this book asserts new possibilities of creative responsiveness within the Australian sensorium.

In this unparalleled study of the forms of Hebrew poetry, preeminent authority Benjamin Harshav examines Hebrew verse during three millennia of changing historical and cultural contexts. He takes us around the world of the Jewish Diaspora, comparing the changes in Hebrew verse as it came into contact with the Canaanite, Greek, Arabic, Italian, German, Russian, Yiddish, and English poetic forms. Harshav explores the types and constraints of free rhythms, the meanings of sound patterns, the historical and linguistic frameworks that produced the first accentual iambs in English, German, Russian, and Hebrew, and the discovery of these iambs in a Yiddish romance written in Venice in 1508/09. In each chapter, the author presents an innovative analytical theory on a particular poetic domain, drawing on his close study of thousands of Hebrew poems.

This Norton Critical Edition includes: Emily Wilson's authoritative translation of Homer's masterpiece, accompanied by her informative introduction, explanatory footnotes and book-by-book summaries. Four maps, created especially for this translation. Contextual materials including sources and analogues by Homer, Sappho, Pindar and others. Also included are carefully chosen passages from (mainly) ancient texts that provide insight into The Odyssey and its reception by Plato, Aristotle, Ovid, Pseudo-Longinus, Lucian, Apollodorus, Heraclitus, Porphyry, Proclus, Hyginus, Dante Alighieri, Alfred Lord Tennyson, C. P. Cavafy, Derek Walcott and Margaret Atwood. Nine critical essays addressing key topics-composition; representation of religion and the gods; class and slavery; gender; colonisation and the meaning of home; trickery, intelligence and lying; and more- essential to the study of The Odyssey. Essays by Robert Fowler, Laurel Fulkerson, Barbara Graziosi, Laura M. Slatkin, Sheila Murnaghan, Patrice Rankine, Helene P. Foley, Egbert J. Bakker and Lillian Eileen Doherty are included. A glossary and a list of suggested further readings. About the Series Read by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format-annotated text, contexts and criticism-helps students to better understand, analyse and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

When we read poetry, we tend to believe that we are getting a glimpse of the interior of the poet's mind-pictures from the poet's imagination relayed through the representative power of language. But poets themselves sometimes express doubt (usually indirectly) that poetic language has the capability or the purpose of revealing these images. This book examines description in Renaissance poetry, aiming to reveal its complexity and variability, its distinctiveness from prose description, and what it can tell us about Renaissance ways of thinking about the visible world and the poetic mind. Recent criticism has tended to address representation as a product of culture; The Unimagined in the English Renaissance argues to the contrary that attention to description as a literary phenomenon can complicate its cultural context by recognizing the persistent problems of genre and literary history. The book focuses on Sidney, Spenser, Donne, and Milton, who had very different aims as poets but shared a degree of skepticism about imagistic representation. For these poets, description can obscure as much as it makes visible, and can create whole categories of existence that are outside of visibility altogether.

Scholarship on the late medieval and early modern Castilian frontier ballad has tended to fall into two distinct categories: analyses which promote a view of the fronterizo corpus as an instrument of anti-Muslim, nationalist ideology in the service of the Christian Reconquest, or interpretations which favour the perception of the poems as idealizing and distinctly Islamophile in their representations of Granadan Muslims. In this study, Sizen Yiacoup offers ideological readings of the romances fronterizos that take into consideration yet look beyond expressions of cross-cultural hostility or sympathy in order to assess the ways in which the poems recall a process of cultural exchange between Christians and Muslims. An understanding of the relationship between the ballads, their original social setting, and the setting in which they achieved their greatest popularity provides the framework for this interpretation of the poems' shifting cultural connotations. Accordingly, Yiacoup traces the evolution of their historical and cultural significance as they moved from their origins in the fourteenth and fifteenth centuries, when a Castilian frontier with Islamic Granada was still a reality, into the sixteenth, when this boundary vanished as part of the larger realignment of cultural, territorial and political frontiers of the new 'Spanish' empire.