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A Poet's Guide to Poetry (Chicago Guides to Writing, Editing, and Publishing)
 
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A Poet's Guide to Poetry (Chicago Guides to Writing, Editing, and Publishing) [Paperback]

Mary Kinzie (Author)
4.3 out of 5 stars  See all reviews (7 customer reviews)

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Book Description

0226437396 978-0226437392 April 1999 1
A Poet's Guide to Poetry brings Mary Kinzie's expertise as poet, critic, and director of the creative writing program at Northwestern University to bear in a comprehensive reference work for any writer wishing to better understand poetry. Detailing the formal concepts of poetry and methods of poetic analysis, she shows how the craft of writing can guide the art of reading poems. Using examples from the major traditions of lyric and meditative poetry in English from the medieval period to the present, Kinzie considers the sounds and rhythms of poetry along with the ideas and thought-units within poems. Kinzie shares her own successful classroom tactics—encouraging readers to approach a poem as if it were provisional.

The three parts of A Poet's Guide to Poetry lead the reader through a carefully planned introduction to the ways we understand poetry. The first section provides careful, step-by-step instruction to familiarize students with the formal elements of poems, from the most obvious feature through the most devious.

Part I presents the style, grammar, and rhetoric of poems with a wealth of examples from various literary periods.

Part II discusses the way the elements of a poem are controlled in time through a careful explanation and exploration of meter and rhythm. The "four freedoms" of free verse are also examined.

Part III closes the book with helpful practicum chapters on writing in form. Included here are writing exercises for beginning as well as advanced writers, a dictionary of poetic terms replete with poetry examples, and an annotated bibliography for further explanatory reading.

This useful handbook is an ideal reference for literature and writing students as well as practicing poets.





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Editorial Reviews

From Publishers Weekly

Known for her poetry (Ghost Ship) and for cogent critical essays (The Cure of Poetry in an Age of Prose), Kinzie here joins the crowd of poets explaining poetry to beginners (see "notes" below)Aand distinguishes herself. Mixing her own theories in with more widely shared axioms, Kinzie manages to cover the basics while shedding new light on line break, syntax and sentence. "Understanding poems as both embedded in progression and indebted to surprise," Kinzie shows how features like rhyme work sometimes as foreground, sometimes as backgroundAphenomena she dubs "recession of technique." Anticipating the needs of students who will encounter her Guide as a textbook or reference work, Kinzie has wisely designed the book to be used alongside a comprehensive poetry anthology (and recommends several). Her quotes and references come mostly and unapologetically from a particular tradition that emphasizes form and control: Thomas Hardy, Louise Bogan, Edwin Muir and the remarkable Julia Randall turn up a lot, while Pound and Williams scarcely appear. Her Guide concludes with a set of provocative exercises, a glossary, and a very knowledgeable bibliography. But sophistication of argument, charming idiosyncrasies of taste, and a refusal to condescend are what really make Kinzie's book stand out.
Copyright 1999 Reed Business Information, Inc.

From Library Journal

Kinzie, a poet, critic, and director of the creative writing program at Northwestern University, knows her stuff. This is a sound reference book for any writer wishing to better understand the dynamics of poetry. The book is organized around six elements of style: line, syntax, diction, trope, rhetoric, and rhythm. While reasserting the claim of poetry as art, Kinzie balances the approaches (and risks) that tradition, technique, and meaning afford in the shaping of verse. Her organization asserts that the chief mechanism of thought is the sentence, and from its elegance bigger notions are built. Particularly strong is Kinzie's commitment to revealing the dynamics of how sounds and rhythms qualify thought units, vehicle qualifies tenor, and parallels continuously cooperate. While scholarly, this is also clear, unpedantic, and substantive. A good complement to the reliable verse handbooks of Louis Turco and Alfred Corn or Joseph Malof's Manual of English Meters (Greenwood, 1978).?Scott Hightower, NYU/Gallatin, New York
Copyright 1999 Reed Business Information, Inc.

Product Details

  • Paperback: 572 pages
  • Publisher: University Of Chicago Press; 1 edition (April 1999)
  • Language: English
  • ISBN-10: 0226437396
  • ISBN-13: 978-0226437392
  • Product Dimensions: 8.9 x 6 x 1.2 inches
  • Shipping Weight: 1.6 pounds (View shipping rates and policies)
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #134,344 in Books (See Top 100 in Books)

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Customer Reviews

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Average Customer Review
4.3 out of 5 stars (7 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

88 of 94 people found the following review helpful:
5.0 out of 5 stars Maybe the best book on prosody yet, February 1, 2000
By 
Jeff Oaks (Pittsburgh, PA United States) - See all my reviews
This review is from: A Poet's Guide to Poetry (Chicago Guides to Writing, Editing, and Publishing) (Paperback)
I'm using Kinzie's book right now in a poetry class I teach. I think it's one of the few books to actually talk about the kinds of tensions that make poems work and not work. I'm especially impressed by her discussions of the way lines and sentences work with and at times against one another. I haven't read in any of the recent crop of books on prosody anything about the relationship of sentence to line, which makes Kinzie's work all the more exciting and original. And smart. I recommend this book to anyone who's really interested in the kinds of questions all poets must face. I wish someone would've given me this much information before I got to grad school. It's a terrific book, and not so hard to understand as the numbers of pages might suggest.
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15 of 15 people found the following review helpful:
5.0 out of 5 stars Excellent, But Not the Place to Start Your Poetry Adventure, October 20, 2008
By 
B. Gadberry (Dahlonega, GA USA) - See all my reviews
(REAL NAME)   
This review is from: A Poet's Guide to Poetry (Chicago Guides to Writing, Editing, and Publishing) (Paperback)
In her Introduction, Kinzie says "Those who have a wide acquaintance with with poetry... will, I hope, find the view of the artistic process... properly challenging." I think her hope will be fulfilled.

The book is excellent, but demanding. I would recommend it for practicing poets, MFA students and teachers, and true lovers of poetry: if you already "get" poetry, then Kinzie's book will help you get a lot more. Kinzie's treatment is especially successful at communicating the fluidity and interconnectedness of specific elements of a poem.

On the other hand, if in the past you have found poetry inaccessible or intimidating, then this book is not the place to start. Something like Perrine's Sound and Sense: An Introduction to Poetry would serve better.

To learn to enjoy and appreciate poetry is to give yourself a wonderful gift for the rest of your life. Go for it! Get some books! (The first one and the last one are the most important.)

Get a first-rate anthology, with lots of different poets and genres:

Harold Bloom, The Best Poems of the English Language: From Chaucer Through Robert Frost (a superb single-volume anthology; an incredible value at $13 - $20)

Get some guides to the art:

Laurence Perrine, Sound and Sense: An Introduction to Poetry (a solid intro guide)
Robert Pinsky, The Sounds of Poetry: A Brief Guide (a great way to "take the next step")
Mary Kinzie, A Poet's Guide to Poetry (Chicago Guides to Writing, Editing, and Publishing) (an excellent "advanced" guide to poetry)

Get some "antidote" poetry. That is, something that helps you (re)connect with the fun and magic of poetry when it starts to seem all Heavy, Deep and Real... when it starts to seem like work. Something like...

Billy Collins, Poetry 180: A Turning Back to Poetry ... or ...
Garrison Keilor, Good Poems ... or ...
Coleman Barks, Essential Rumi

Get at least one book with the "Collected" or "Complete" works of a poet from the Bloom anthology that you find you respond to, because some aspects of poetry only come into view when you read most or all of a poet's oeuvre.

And, get a notebook... get the kind you like writing in, whatever that is. Keep it handy while you read, and write down things you like and want to remember, questions you have, and words to look up. Before you fill up the notebook, you may well find that you're writing sketches and drafts of your own first poems in there too.
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12 of 14 people found the following review helpful:
5.0 out of 5 stars A great guide for poets and fiction writers too, November 22, 2005
By 
reader (Chicago, IL USA) - See all my reviews
This review is from: A Poet's Guide to Poetry (Chicago Guides to Writing, Editing, and Publishing) (Paperback)
A great poet and a great text.

Things that stand out for me: The first sentence of the book: "I believe poets read poetry differently than non-poets do." The book continues to seem like a brilliant reaction to a lack of good textbooks. And Kinzie addresses this: "First, the book should present the sounds and rhythms of poetry alongside consideration of the ideas and thought-units within the poems. It sounds simple enough, yet few introductions to formal poetry now treat sense and sound as parallels that continuously cooperate even when one seems dominant. And few of my recent predecessors give essential space to the chief mechanism of thought: the sentence, along with the other elements of grammatical construction." Kinzie repeatedly uses different takes on the same phrase: "...will help you teach yourself" In the section, Writing the Poem you Read: A View of the Artistic Process she says, "To become better acquainted with poetry you must read poems as if you were writing them. The reader follows...the many paths that were not taken by the author."
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