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The Art of the Poetic Line Paperback – December 26, 2007

ISBN-13: 978-1555974886 ISBN-10: 1555974880

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Product Details

  • Series: Art of
  • Paperback: 120 pages
  • Publisher: Graywolf Press (December 26, 2007)
  • Language: English
  • ISBN-10: 1555974880
  • ISBN-13: 978-1555974886
  • Product Dimensions: 7 x 5.1 x 0.4 inches
  • Shipping Weight: 5.6 ounces (View shipping rates and policies)
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #133,323 in Books (See Top 100 in Books)

Editorial Reviews

From Publishers Weekly

A much-admired academic critic and poet, Longenbach (Draft of a Letter) contributes to this useful new series of pocket-sized writing guides with clear, swift prose that explains how poets have thought about kinds of lines; how the line, or the idea of the line, distinguishes poetry (even prose poetry) from ordinary prose; how reference to dramatic verse (especially Shakespeare's) can help us think about verse lines on the page; and how the kinds of line he identifies—the end-stopped (punctuated) line, the parsing line (which follows a phrase's syntax), and the annotating line (which works against it)—combine to make memorable modern poems. A set of examples from William Carlos Williams demonstrate how Williams's freewheeling prose let him evolve from less interesting to more powerful versions of free verse. Passages from Marianne Moore, C.D. Wright, Emily Dickinson, Ezra Pound and Frank Bidart also receive incisive comment. No particular line, Longenbach writes, needs to be championed at the expense of other kinds. He tries hard—some may think too hard—not to lose any beginners: the result is a short book that could be useful in college and high school courses, while also appealing to general poetry readers. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

About the Author

James Longenbach is the author of three poetry collections, including Draft of a Letter; five works of criticism, including The Resistance to Poetry, as well as numerous essays and reviews. He is Joseph Henry Gilmore Professor of English at the University of Rochester.

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Customer Reviews

3.7 out of 5 stars
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Most Helpful Customer Reviews

56 of 57 people found the following review helpful By Midwest Book Review on February 5, 2008
Format: Paperback
Poet and literary critic James Longenbach presents The Art Of The Poetic Line, a discussion of the function of the line in metered, rhymed, syllabic, and free-verse poetry. Drawing upon classic examples ranging from Shakespeare and Milton to Ashbery and Gluck, The Art of the Poetic Line demystifies ambiguous elements in creating poetry to evoke mood and experience. "Poems are poems because we want to listen to them. Some poems have a prominent argument; some poems don't. But all poems live or die on their capacity to lure us from their beginning to their ends by a pattern of sounds. This is why a poem we don't understand may seem wonderfully satisfying, and this is why a poem we understand all too well may also seem wonderfully satisfying. A poem may harness the power of meter, rhyme, syntax, and line to establish and disrupt a pattern of sounds, and a poem may with equal integrity reject the power of meter, rhyme, syntax, and line. But the poet needs to understand what she is rejecting as well as what she is harnessing." Highly recommended for poetry connoisseurs, and an absolute must-read for poets and would-be poets of all walks of life.
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33 of 37 people found the following review helpful By Audrey C. Friedman on September 20, 2008
Format: Paperback Verified Purchase
How the topic of the poetic line caused angst for the first years of my serious attempts at reading and writing poetry. Longenbach's straghtforward and smart treatise on this topic would have saved me much distress. This book will be as helpful for the beginner as for the accomplished poet or MFA student. Thanks, Mr. Longenbach. This book will be within easy reach as I know I'll revisit it many more times!
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19 of 21 people found the following review helpful By Frances Haas on June 24, 2009
Format: Paperback
Mr. Longenbach manages to explain poetic terms in ways I could understand, and I have read many poets/editors on how to write poetry. He presents a good discussion on why we should keep poetic structures by showing the power of the structured rhymes. These selections are not Hallmark type verses, but finely wrought poems which stick in the mind. He explains the value of sound in composition.
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Format: Paperback
I was surprised that the author, an educator himself, would use new terms repeatedly without defining them. For example, a whole chapter was written on ending lines. I still do not know what "parsing" means, nor could I figure it out from his examples. The book is pretty heady. It also has a way of telling the reader how the poem should make the reader feel/respond. So, some principles of education missing, I think. Nonetheless, there are few books written that address the components of a line as an entity; therefore, a worthy attempt.
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Format: Paperback Verified Purchase
This book—like the others I've read from this series—is a very basic treatment of the subject, with nothing I haven't read in half a dozen other books on craft. On top of that, its lack of structure (only divided into a few chapters, without any sub-sections) make it all but completely useless as a reference material.
It's only real use I can imagine would be as an introductory primer for those who don't have access to more experienced writers who could communicate the same information more effectively through fairly casual discussion.
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By will4576 on August 16, 2013
Format: Paperback Verified Purchase
This book is a good beginning poet's resource for understanding some reasons on why and how to break or end a line in poetry. While I didn't agree with everything Longenbach said as to the affects the line ending had on the way in which I read the same poems, there were enough insightful details that I was able to take away some valuable knowledge.
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