Overheard Voices Address and Subjectivity in Postmodern American Poetry Literary Criticism and Cultural Theory Series
Auteur : Keniston Ann
Overheard Voices examines poetic address and in particular apostrophe (the address of absent or inanimate others) in the work of four post-World War II American poets, with a focus on loss, desire, figuration, audience, and subjectivity. By approaching these crucial issues from an unexpected angle--through a study of the seldom-examined lyric "you"--Overheard Voices offers new insight into both contemporary lyric and the lyric genre more generally. The book offers detailed readings of Sylvia Plath, James Merrill, Louise Glück, and Frank Bidart.
Introduction: The fluidity of damaged Form: Theorizing Postmodern Address Chapter One: Recovering You: Apostrophe in Sylvia Plath's Ariel Chapter Two: Familiar Projections: James Merrill's Changing Light at Sandover Chapter Three: Buried with the Romantics: Louise Glück's The Wild Iris Chapter Four: Homo Faber: Frank Bidart's Desire and Elegy Conclusion: A dream of this room: Self-Effacement, Lyric Space, and Negative Identification Works Cited
Date de parution : 09-2014
15.2x22.9 cm
Date de parution : 03-2006
15.2x22.9 cm
Thème d’Overheard Voices :
Mots-clés :
postmodern; american; poetry; apostrophic; poems; merrill's; wild; iris; dramatic; monologue; Postmodern American Poetry; Da Game; Young Men; Drawn Back; Apostrophic Poems; Ellen West; Merrill's Poem; Plath's Poems; Keats's Speaker; Postmodern Poems; Wild Iris; Plath's Letter; Plath's Speaker; Postmodern Address; Poem's Speaker; Ouija Board; Flower Poems; Dickinson's Letter; Postmodern Poets; Lowell's Poem; Master Letters; Golden State; Frank Bidart; Dramatic Monologue; Ashbery's Poem