Writing their early poetry during the 1790s, a decade of European revolution, Coleridge, Wordsworth and their friends have always been thought of as 'the First-Generation Romantics'. This book challenges that concept by viewing them from an entirely new perspective as poets who were continuing an eighteenth-century 'organic' tradition.

In Round, she writes: "Let's get married, Rita says. / She puts her head in Jimmy's lap, / nuzzles his balls through his underwear. / The guy on the ropes goes down. / He pushes her away. / Her voice / in his ear now, drowning out / the count. Marry me, Jimmy. / He sees the crowd / on its feet, screaming, / him just lying there."

Literary Nonfiction. Poetics. "ORDERING THE STORM empowers readers to see the poetry collection as an artistic medium in itself, and offers diverse perspectives on the subject. Experienced writers and beginners alike will find inspiration and encouragement in the words of exceptional poets such as Maggie Anderson, Wanda Coleman, and Beckian Fritz Goldberg. This book should be required reading for all graduate student poets, even those who are still in the process of writing their first collection, because it includes essential information on poetic sequencing and useful strategies for examining a manuscript's possibilities. One of the most exciting aspects of the book is the sense of community that readers feel upon exploring each essay. ORDERING THE STORM transforms the task of arranging poems from a solitary undertaking to a collaborative adventure"--Mary Biddinger, Associate Editor of RHINO.

The events of 1999’s Columbine shooting preoccupy Forsythe in these poems, refracting her vision to encompass killer, victim, and herself as a girl, suddenly aware of the precarity of her own life and the porousness of her body to others’ gaze, demands, violence. Deeply researched and even more deeply felt, Perennial inhabits landscapes of emerging adulthood and explosive cruelty—the hills of Pittsburgh and the sere grass of Colorado; the spines of books in a high school library that has become a killing ground; the tenderness of children as they grow up and grow hard, becoming acquainted with dread, grief, and loss.

Grade level: 1, 2, 3, 4, 5, 6, 7, p, e, i, s, t.

A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.

Set to generate future discussions in the field for years to come, The Poetics of Poetry Film is an encyclopaedic work on the ever-evolving genre of poetry film. Tremlett provides an introduction to the emergence and history of poetry film in a global context, defining and debating terms both philosophically and materially. Including over 40 contributors and showcasing the work of an international array of practitioners, this is an industry bible for anyone interested in poetry, digital media, filmmaking, art and creative writing, as well as poetry filmmakers. Poetry films are a genre of short film, usually combining the three main elements of the poem as: verbal message; the moving film image and diegetic sounds; and additional non-diegetic sounds or music, which create a soundscape. In this book, Tremlett examines the formal characteristics of the poetic in poetry film, film poetry and videopoetry, particularly in relation to lyric voice and time. The volume includes interviews, analysis and a rigorous and thorough investigation of the poetry film, from its origins to the present.