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A Vertical Art: On Poetry
A Vertical Art: On Poetry in Bloomington, MN
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Size: Paperback
From the UK Poet Laureate and bestselling translator, a spirited book that demystifies and celebrates the art of poetry today
In
A Vertical Art
, acclaimed poet Simon Armitage takes a refreshingly common-sense approach to an art form that can easily lend itself to grand statements and hollow gestures. Questioning both the facile and obscure ends of the poetry spectrum, he offers sparkling new insights about poetry and an array of favorite poets.
Based on Armitage’s public lectures as Oxford Professor of Poetry,
illuminates poets as varied as Emily Dickinson, Walt Whitman, Marianne Moore, W. H. Auden, Ted Hughes, Thom Gunn, A. R. Ammons, and Claudia Rankine. The chapters are often delightfully sassy in their treatment, as in “Like, Elizabeth Bishop,” in which Armitage dissects—and tallies—the poet’s predilection for similes. He discusses Bob Dylan’s Nobel Prize, poetic lists, poetry and the underworld, and the dilemmas of translating
Sir Gawain and the Green Knight
. Armitage also pulls back the curtain on the unromantic realities of making a living as a contemporary poet, and ends the book with his own list of “Ninety-Five Theses” on the principles and practice of poetry.
An appealingly personal book that explores the volatile and disputed definitions of poetry from the viewpoint of a practicing writer and dedicated reader,
makes an insightful and entertaining case for the power and potential of poetry today.
In
A Vertical Art
, acclaimed poet Simon Armitage takes a refreshingly common-sense approach to an art form that can easily lend itself to grand statements and hollow gestures. Questioning both the facile and obscure ends of the poetry spectrum, he offers sparkling new insights about poetry and an array of favorite poets.
Based on Armitage’s public lectures as Oxford Professor of Poetry,
illuminates poets as varied as Emily Dickinson, Walt Whitman, Marianne Moore, W. H. Auden, Ted Hughes, Thom Gunn, A. R. Ammons, and Claudia Rankine. The chapters are often delightfully sassy in their treatment, as in “Like, Elizabeth Bishop,” in which Armitage dissects—and tallies—the poet’s predilection for similes. He discusses Bob Dylan’s Nobel Prize, poetic lists, poetry and the underworld, and the dilemmas of translating
Sir Gawain and the Green Knight
. Armitage also pulls back the curtain on the unromantic realities of making a living as a contemporary poet, and ends the book with his own list of “Ninety-Five Theses” on the principles and practice of poetry.
An appealingly personal book that explores the volatile and disputed definitions of poetry from the viewpoint of a practicing writer and dedicated reader,
makes an insightful and entertaining case for the power and potential of poetry today.
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