Over the past thirty years, narrative poems have made a comeback against the lyric approach to poetry that has dominated the past century. Drawing on a decade of conferences and critical seminars on the topic, The Contemporary Narrative Poem examines this resurgence of narrative and the cultural and literary forces motivating it. Gathering ten essays from poet-critics who write from a wide range of perspectives and address a wide range of works, the collection transcends narrow conceptions of narrative, antinarrative, and metanarrative. The authors ask several questions: What formal strategies do recent narrative poems take? What social, cultural, and epistemological issues are raised in such poems? How do contemporary narrative poems differ from modernist narrative poems? In what ways has history been incorporated into the recent narrative poetry? How have poets used the lyric within narrative poems? How do experimental poets redefine narrative itself through their work? And what role does consciousness play in the contemporary narrative poem? The answers they supply will engage every poet and student of poetry.

O for a muse of napalm... Years in the making, As Long As It's Big is a stunning and unique poetic achievement. By turns rollicking, funny, and deeply moving, this dramatic poem tells a tragic story - the collapse of a marriage after the suicide of a child - within the topsy-turvy venue of a divorce court ruled by an alternately cynical and sentimental judge. John Bricuth cleanly balances sensitive portrayals of painful lives with hilarity, chaos, and occasionally ribald caricatures. Hugely entertaining and immensely readable, Bricuth's verse narrative will absorb anyone seeking to unravel the truths of modern family life.

Poetry, by definition, is voice, which here includes the worlds of both sound silence in which the poem exists. Voice in poetry represents the way in which individuals articulate themselves as subjects. English Narrative Poetry: A Babel of Voices explores how poets in different periods of English literature have manipulated voice in their verse narratives. This book, devoted to voice, explores narrative poems ranging from the Renaissance to the contemporary. Starting from Shakespeare, it journeys through Pope, Wordsworth, Keats, Rossetti, Browning, H. D., Ted Hughes, Jackie Kay, and Bernardine Evaristo in the light of narrative theory. The multiplicity of voice attests to the fact that narrative poetry can present itself as a ‘representation’ of real life by ‘mimicking’ the voices of women and men, creating what, taken together, comprises a babel of voices.

"As strong and moving, funny and high-energetic and horrifically splendid a long poem as our language has been lately blessed with" (John Barth), "Just Let Me Say This About That" "propounds an important vision of who and where we all are now" (John Hollander).

Forty essays from influential scholars and poets offer a fresh, multifaceted assessment of the life and works of Robert Frost.

Penelope Scambly Schott has researched facts and woven them into this poem. She cites her sources and points out fact from fiction. The poems take the reader directly into the mind and heart of a strong woman, who is extraordinary partly because she thinks she is ordinary. This brilliant tour-de-force narrates the life of a woman shipwrecked in the 1640s on the shores of modern-day New Jersey, axed in the belly, half-scalped and left for dead by the Lenape Indians, then nursed back to health by them and taken into the tribe. And that’s only the beginning. Penelope Scambly Schott has carefully researched the facts and woven them into a poetic page-turner. She cites her sources, provides a glossary and, best of all, indicates what is fact and what is fiction. Her technique is well chosen: the interior monologues, mostly of the heroine, Penelope Kent van Princis Stout, and, in a few poems, those of her namesake, the author. A more distant Penelope, the wife of Odysseus, is also invoked. The poems take us directly into the mind and heart of a strong woman, who is extraordinary partly because she thinks she is ordinary. With craftsmanship and feeling, Schott has limned unforgettable characters whose lives transcend the mostly ignoble history of settler-Native American relations.

The Feminist Avant-Garde in American Poetry offers a historical and theoretical account of avant-garde women poets in America from the 1910s through the 1990s and asserts an alternative tradition to the predominantly male-dominated avant-garde movements. Elisabeth Frost argues that this alternative lineage distinguishes itself by its feminism and its ambivalence toward existing avant-garde projects; she also thoroughly explores feminist avant-garde poets' debts and contributions to their male counterparts.