Dove responded in a word letter. Without this bird that never settles, without Its generations that follow in their universe, The ocean, falling and falling on the hollow shore, Would be a geography of the dead: The arts would justify a broad philosophical interest in ontology, phenomenology, and ethics; they would bring in their train a richer history than one which, in its treatment of mass phenomena, can lose sight of individual human uniqueness—the quality most prized in artists and most salient, and most valued in the arts.
Eliot, and Adrienne Rich. The hard-and-fast division of history, philosophy, and literature has been at best a functional one, and at worst an obfuscation of the natural interdependence of these fields.
Previously, the most influential poetry critics had been poets themselves; these poet-critics could be acknowledged as having a clear appreciation of the creative processes involved in writing poetry. They could also include variations of literary themes or formats or choosing to characterize a moment of life differently.
She could have done it more effectively with far fewer words. Vendler also remains distinct among poetry critics in her ability to provide detailed analysis and genuine appreciation for the aesthetic value of poetry.
She not only explains them one at a time, but she circles back to hit on similar techniques several times throughout the book using different poems.
This experience was so peculiar that I was overcome by a desire to know how that perfusion, which somehow bypassed intellectual translation, was accomplished. And yet, as her definition of the critic points out, she commits a fundamental error in making this case, which, not incidentally, is a result of her being such a fine critic.
The Odes of John Keats, for instance, was roundly criticized for interpreting the poems not individually, but as part of a larger sequence. The wings keep spreading and yet are never wings. She pays little attention to doctrines of taste, and rather follows quality where it leads her.
The poem rests on three images, of which the first is the incessantly variable sea, the vulgar reservoir from which the vulgate— the common discourse of language and art—is drawn. But the implied description of philosophy and history here are extremely narrow, and reflect only one portion of the recent past, which in certain places takes itself for orthodoxy.
Vendler is also willing to expand chronologically and geographically, and also thematically when the spirit moves her. It shows how well poetry can be tied to social movements or ethnic characteristics or confront moral dilemmas.
Where a Harold Bloom or a George Steiner her most famous contemporaries and certainly her equals as readers of poetry, if not, in some cases, slight inferiors might not devote much time to say, Hughes or Ginsberg, given the much bigger poetic fish to fry, Vendler digs in and finds worth where she can.
In Vendler moved to Boston, where she became an associate professor at Boston University. As far as the selection of early Stevens goes, my original choices included several middle-period poems, but rights problems prohibited their final inclusion.
But the essential point here is, if a reader cannot approach a poem, a novel, a play, on her own and, at least once, be electrified in something like this way, what can all the deconstruction or Marxist analysis in the world to say nothing of our own plot-shape graphs and metadata aggregation do to pass on the knowledge of the great books, and with them, our cultural patrimony?
What she is interested in is reading poetry, and in that she is nearly without equal.
While working as an assistant professor of English at Smith College, Vendler was commissioned by the Massachusetts Review to take on their annual consideration of the year in poetry.
The event is free and open to the public. Her key poets along the way are Wallace Stevens, Seamus Heaney, and Jorie Graham, though she demonstrates deep engagement and even ardor for a range much more inclusive than this brief gloss, incorporating into her poetic cosmos such diverse figures as Langston Hughes, Allen Ginsberg, A.
After studying at the University of Louvain under a Fulbright fellowship, she entered Harvard, where she earned her Ph. Namely, she is simply too reliant on the categories and definitions of her that is, our own time.
Helen Keller overcame the seemingly insurmountable obstacles of deafness and blindness to become an influential lecturer and social activist. The claws keep scratching on the shale, the shallow shale, The sounding shallow, until by water washed away.
The Breaking of Style, traces the changes in the styles and worldviews of three poets: On top of all this, it contains an impressive anthology of poetry that will leave plenty to read and analyze for a long time to come.
Vendler is considered among the most influential contemporary poetry critics in the United States. Most striking about her distinguished career is that she seems to have had no supreme theory, no particular axe to grind, other than simply trying to read and discuss poetry to the best of her ability.
Instead, Vendler does what she has become best known for—providing a close reading of the poems, including several fresh critical insights into this much-studied collection of verse.
Her acceptance of this assignment signaled the beginning of her career in poetry criticism.Helen Hennessy Vendler is an American literary critic and is the A. Kingsley Porter University Professor at Harvard University. Buy a cheap copy of Poems, Poets, Poetry: An Introduction book by Helen Vendler.
Written by a preeminent critic and legendary teacher, this text and anthology presents the incisive, practical methods of reading and writing that Helen Vendler has Free shipping over $/5(5).
"Emily Dickinson." Introduction to Dickinson by professors Peggy McIntosh and Ellen Louise Hart, feelings about her Christianity and the issues that would preoccupy her religious writing for the rest of her life. Christianity and Literature 53 () [subcription service, questia]. Vendler, Helen.
"Emily Dickinson and the Sublime.". Poems, Poets, Poetry demystifies the form and introduces students to its artistry and pleasures, using methods that Helen Vendler has successfully used herself over her long, celebrated career. Guided by Vendler’s erudite yet down-to-earth approach, students at 4/5(30).
By Helen Vendler Harvard University Press, May Helen Vendler, A. Kingsley Porter Professor at Harvard University, begins her new book with what she calls an “account of [her] life as a critic” – a reasonable subject for an introduction, given that, at the time this review is published, Vendler will have just passed her 82nd birthday.
Helen Vendler Arthur Kingsley Porter University Professor. Harvard University Department of English (Review of The Whole Harmonium: The Life of Wallace Stevens (Adapted from the introduction to The Complete Poems of A.
R. Ammons, ).Download