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A Little Book on Form: An Exploration into the Formal Imagination of Poetry An Acute And Deeply Insightful Book Of Essays Exploring Poetic Form And The Role Of Instinct And Imagination Within Form From Former Poet Laureate, Pulitzer Prize And National Book Award Winning Author Robert HassRobert Hass Former Poet Laureate, Winner Of The National Book Award, And Recipient Of The Pulitzer Prize Illuminates The Formal Impulses That Underlie Great Poetry In This Sophisticated, Graceful, And Accessible Volume Of Essays Drawn From A Series Of Lectures He Delivered At The Renowned Iowa Writers WorkshopA Little Book On Form Brilliantly Synthesizes Hass S Formidable Gifts As Both A Poet And A Critic And Reflects His Profound Education In The Art Of Poetry Starting With The Exploration Of A Single Line As The Basic Gesture Of A Poem, And Moving Into An Examination Of The Essential Expressive Gestures That Exist Inside Forms, Hass Goes Beyond Approaching Form As A Set Of Traditional Rules That Precede Composition, And Instead Offers Penetrating Insight Into The True Openness And Instinctiveness Of Formal CreationA Little Book On Form Is A Rousing Reexamination Of Our Longest Lasting Mode Of Literature From One Of Our Greatest Living Poets


About the Author: Robert Hass

Robert Hass was born in San Francisco and lives in Berkeley, California, where he teaches at the University of California He served as Poet Laureate of the United States from 1995 to 1997 A MacArthur Fellow and a two time winner of the National Book Critics Circle Award, he has published poems, literary essays, and translations He is married to the poet Brenda Hillman.



10 thoughts on “A Little Book on Form: An Exploration into the Formal Imagination of Poetry

  1. says:

    Do I put this in essays Do I put this in poetry Both And certainly in Finished in 2017, as it will be the last.This book was a bit of a struggle It s big, for one thing Damn near 500 pages And it s not the same as essays on poetry I ve read by, say, Tony Hoagland or Jane Hirshfield, both accomplished in the field.No, as the introduction warns us, this


  2. says:

    A good rehash for me of a college course, Versification, that I took with Robert Fitzgerald many years ago in college It contains a lot of examples, goes beyond the set forms and meters, and provides an excellent history of each.


  3. says:

    Having read Schmidt s book that covers the work of 50 modern poets my thoughts posted here , I now wanted to read a book to help me understand the art of poetry, so I chose this.This book is divided into two parts, the first is like an intro of the mechanics of poetry Hass, in using examples of poetry and extracts of one to four lines, gets you comfortable about thinkin


  4. says:

    I liked this book, especially the concept that form in poetry is about time, not space A four line stanza with breaks makes an interesting pattern on a page but the form is in the short pause after each line, and the longer pauses between stanzas It reads easily, if you like poetry if you don t you probably won t read it unless someone makes you The book is based on notes for a


  5. says:

    Not quite a little book, and not quite the font of revelation I d hoped it would be, either Hass is always interesting, readable and entertaining, and his knowledge of poetry is encyclopedic However, if you re looking for a book that will give you insight into why certain poets break their lines or stanzas the way they do, you re not really going to find that here, because each poem is k


  6. says:

    A mix of poetry quotations from a particular white, male canon and dense, academic analyses of their style If that s your jam, this is your book I got a couple knowledge items out of it but, after struggling for months to finish it, I quit halfway through.The Kindle Unlimited page count is misnumbered it counts to nearly 500 pages at the halfway point where I stopped and the second half is unnumb


  7. says:

    I need a physical version of this, so I can just page through It s a good book It does a great job of taking you through examples of the form, tracing lineage, and showing the vastly different things poets can do Admittedly I skipped over a lot of the further reading material, but I would like to go back to it some afternoon This is the book that helped get me into haiku, and finally make me like Keats vi


  8. says:

    This book was adapted from a class that Hass taught As such, it felt like a bit of a slog at times Even so, I was able to read a lot of poetry which was incredible through this large and sometimes boring book.


  9. says:

    Consider the opening quatrain of Emily Dickinson s I cannot live with You I cannot live with You It would be Life And Life is over there Behind the ShelfIts lines alternate between iambic trimeter and iambic bimeter, a shortening of Dickinson s usual alternating iambic tetra and trimeters hymn form There are no end rhymes unless you consider Life and Shelf to be off rhymes Its subject Life is abstract, and there is no imag


  10. says:

    I agree wholeheartedly with those reviewers, critics, and Goodreads subscribers who have lavished their praise upon this thrilling book Perhaps every compliment within possibility has already been bestowed I will offer only this idiosyncratic observation the book s subtitle irks me I want to substitute the phrase imagining of for imagination of, because it is we writers, we poets, we human beings who activate the mental imagining o


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