CHAPTER 8 Metaphor, Metonymy, and the Prose Poem

Prose Poetry ◽  
2020 ◽  
pp. 177-198
Keyword(s):  
2011 ◽  
pp. 318-329
Author(s):  
Andy Brown
Keyword(s):  

CHEST Journal ◽  
2012 ◽  
Vol 141 (1) ◽  
pp. 271
Author(s):  
Katherine R. Redeker
Keyword(s):  

Author(s):  
Huda Fakhreddine

Modern Arabic poetic forms developed in conversation with the rich Arabic poetic tradition, on one hand, and the Western literary traditions, primarily English and French, on the other. In light of the drastic social and political changes that swept the Arab world in the first half of the 20th century, Western influences often appear in the scholarship on the period to be more prevalent and operative in the rise of the modernist movement. Nevertheless, one of the fundamental forces that drove the movement from its early phases is its urgent preoccupation with the Arabic poetic heritage and its investment in forging a new relationship with the literary past. The history of poetic forms in the first half of the 20th century reveals much about the dynamics between margin and center, old and new, commitment and escapism, autochthonous and outside imperatives. Arabic poetry in the 20th century reflects the political and social upheavals in Arab life. The poetic forms which emerged between the late 1940s and early 1960s presented themselves as aesthetically and ideologically revolutionary. The modernist poets were committed to a project of change in the poem and beyond. Developments from the qas̩īdah of the late 19th century to the prose poem of the 1960s and the notion of writing (kitābah) after that suggest an increased loosening or abandoning of formal restrictions. However, the contending poetic proposals, from the most formal to the most experimental, all continue to coexist in the Arabic poetic landscape in the 21st century. The tensions and negotiations between them are what often lead to the most creative poetic breakthroughs.


2021 ◽  
Vol 58 (1) ◽  
pp. 63-75
Author(s):  
SONYA STEPHENS

This article examines the relationship between Baudelaire’s prose poem, “Assommons les pauvres!” (Le Spleen de Paris, 1869) and Shumona Sinha’s 2011 novel of the same title. Focusing on questions of reading and intertextuality, from Baudelaire’s reference to Proudhon to Sinha’s engagement with the prose poem and Le Spleen de Paris more broadly, it explores forms of confinement and creativity, the connections between narrative and freedom and the ways in which lyrical subjectivity and literary form reflect the social challenges of each period. In expressing socio-cultural and linguistic alienation, these texts centre the textual in an exploration of the marginal, thereby demonstrating that the connection between them goes beyond a critical act of violence and the presumed equality or dignity it confers, to represent a shared interrogation of universalism, multiculturalism, and authorial and political power.


Author(s):  
Paul Hetherington ◽  
Cassandra Atherton

This is the first book of its kind — an introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. The book introduces prose poetry's key characteristics, charts its evolution from the nineteenth-century to the present, and discusses many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today's most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. The book explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry' s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women's essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.


1999 ◽  
Vol 39 (1) ◽  
pp. 84-92
Author(s):  
Anne Craver
Keyword(s):  

Author(s):  
Stefanie John

Abstract This essay examines the use of poetic prose in recent non-fiction by Robert Macfarlane and Kathleen Jamie. Drawing on selected chapters from Macfarlane’s The Old Ways (2012), Jamie’s Sightlines (2012), and a prose poem from Jamie’s The Bonniest Companie (2015), it demonstrates the hybridity of contemporary nature writing by paying attention to the works’ transgressions of the bounds of verse and prose. After introducing the nineteenth-century debate on differences between lyric and prosaic language and outlining Romantic efforts to poeticize prose descriptions of nature and environment, the article discusses Macfarlane’s and Jamie’s role in this conversation. I argue that formal transgressions – evident in metrical and rhyming effects, typographical experiments, imagery, and allusion – are especially strong in passages that describe movement: in accounts of walking or in observations of the shifting motions of light and weather. Prose forms that approximate and integrate lyricism here enhance a sense of transience as well as exhibit the continuity of human and non-human worlds. Self-consciously tracing the footsteps of other poets who have traversed genre boundaries, Macfarlane’s and Jamie’s work establishes nature writing as a form that is persistently on the move.


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