Library Catalog
Amazon cover image
Image from Amazon.com

Dickinson's Nerves, Frost's Woods : Poetry in the Shadow of the Past / William Logan.

By: Material type: TextTextPublisher: New York, NY : Columbia University Press, [2018]Copyright date: ©2018Description: 1 online resource : 21 imagesContent type:
Media type:
Carrier type:
ISBN:
  • 9780231186148
  • 9780231546515
Subject(s): DDC classification:
  • 821.009 23/eng/20240417
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Notes Toward an Introduction -- 1. Shelley’s Wrinkled Lip, Smith’s Gigantic Leg -- 2. Frost’s Horse, Wilbur’s Ride -- 3. Lowell’s Skunk, Heaney’s Skunk -- 4. Longfellow’s Hiawatha, Carroll’s Hiawatha: The Name and Nature of Parody -- 5. Keats’s Chapman’s Homer, Justice’s Henry James -- 6. Shakespeare’s Rotten Weeds, Shakespeare’s Deep Trenches -- 7. Pound’s Métro, Williams’s Wheelbarrow -- 8. Dickinson’s Nerves, Frost’s Woods -- Permissions -- Notes -- Index
Summary: In Dickinson’s Nerves, Frost’s Woods, William Logan, the noted and often controversial critic of contemporary poetry, returns to some of the greatest poems in English literature. He reveals what we may not have seen before and what his critical eye can do with what he loves. In essays that pair different poems—“Ozymandias,” “On First Looking Into Chapman’s Homer,” “In a Station of the Metro,” “The Red Wheelbarrow,” “After great pain, a formal feeling comes,” and “Stopping by Woods on a Snowy Evening,” among others—Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney.In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made. Logan’s criticism is informed by the material culture of that world, whether postal deliveries in Regency London, the Métro lighting in 1911 Paris, or the wheelbarrows used in 1923. Deeper knowledge of the poet’s daily existence lets us read old poems afresh, providing a new way of understanding poems now encrusted with commentary. Logan shows that criticism cannot just root blindly among the words of the poem but must live partly in a lost world, in the shadow of the poet’s life and the shadow of the age.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780231546515

Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Notes Toward an Introduction -- 1. Shelley’s Wrinkled Lip, Smith’s Gigantic Leg -- 2. Frost’s Horse, Wilbur’s Ride -- 3. Lowell’s Skunk, Heaney’s Skunk -- 4. Longfellow’s Hiawatha, Carroll’s Hiawatha: The Name and Nature of Parody -- 5. Keats’s Chapman’s Homer, Justice’s Henry James -- 6. Shakespeare’s Rotten Weeds, Shakespeare’s Deep Trenches -- 7. Pound’s Métro, Williams’s Wheelbarrow -- 8. Dickinson’s Nerves, Frost’s Woods -- Permissions -- Notes -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In Dickinson’s Nerves, Frost’s Woods, William Logan, the noted and often controversial critic of contemporary poetry, returns to some of the greatest poems in English literature. He reveals what we may not have seen before and what his critical eye can do with what he loves. In essays that pair different poems—“Ozymandias,” “On First Looking Into Chapman’s Homer,” “In a Station of the Metro,” “The Red Wheelbarrow,” “After great pain, a formal feeling comes,” and “Stopping by Woods on a Snowy Evening,” among others—Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney.In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made. Logan’s criticism is informed by the material culture of that world, whether postal deliveries in Regency London, the Métro lighting in 1911 Paris, or the wheelbarrows used in 1923. Deeper knowledge of the poet’s daily existence lets us read old poems afresh, providing a new way of understanding poems now encrusted with commentary. Logan shows that criticism cannot just root blindly among the words of the poem but must live partly in a lost world, in the shadow of the poet’s life and the shadow of the age.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)