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Books on the topic 'All of poetry forms'

Author: Grafiati

Published: 5 June 2025

Last updated: 16 July 2025

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1

Khanyile, Musawenkosi. All the places: Poems. Uhlanga, 2019.

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2

Fox-Lockert, Lucía. Formas: Poesía = Forms : poetry. Shamballa Publications, 1985.

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3

Lehman, David. The line forms here. University of Michigan Press, 1992.

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4

Carsten-Miller, Ingeborg. All Christmas: Poetry. Carmill Press, 2001.

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5

Brown, Wayne M. Love-- (and other forms of madness). Passion Among the Cacti Press, 2004.

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6

Yolen, Jane. Shape me a rhyme: Nature's forms in poetry. Wordsong, 2007.

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7

Blake, Quentin. All join in. Little, Brown, 1991.

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8

Blake, Quentin. All join in. Red Fox, 1998.

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9

Blake, Quentin. All join in. Red Fox, 1992.

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10

Blake, Quentin. All join in. J. Cape, 1990.

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11

Conte, Joseph Mark. Unending design: The forms of postmodern poetry. Cornell University Press, 1991.

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12

Blasing, Mutlu Konuk. American poetry--the rhetoric of its forms. Yale University Press, 1987.

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13

Hò̂, Xuân Hơ ng. All she wants: Poetry. Tuba, 1987.

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14

Samarsky, Elena, and Tim Tarkelly. All Other Forms of Expression. Spartan Press, 2021.

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15

Hengreaves, Paterika. Poetry For All Seasons: Poems, Forms and Styles. AuthorHouse, 2007.

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16

Hetherington, Paul, and Cassandra Atherton. Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.001.0001.

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This is the first book of its kind — an introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. The book introduces prose poetry's key characteristics, charts its evolution from the nineteenth-century to the present, and discusses many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today's most inventive writing. A prose poem looks like prose but reads like p

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17

Lunn-Rockliffe, Katherine. French Romantic Poetry. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.7.

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French Romantic poetry marked a dramatic break with a national tradition of verse which had been inherited almost unaltered from the seventeenth century. During the eighteenth century, the neo-classical conception of poetry as a rule-governed and highly stylized art had continued to prevail; verse was characterized by a solemn tone and narrow lexis, and there was a rigid distinction between poetic genres. Whereas Romantic poetry in England and Germany seemed already to allow the imagination free reign, in France poets needed first to reject these neo-classical conventions. Victor Hugo declared

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18

Henderson, Andrea. Invariant Forms. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809982.003.0006.

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In the later nineteenth century formal regularity was regarded as the hallmark of mathematical and scientific inquiry as well as the burgeoning “social sciences” and the arts—all presumed to be governed by formal “laws.” But insofar as formal regularity was seen to characterize natural and civil law, it allowed for an equivocation between them, such that formal laws might be understood to be not an abstraction from but an imposition on content. Thus conceived, form and content could actually be at odds, and this would have important implications for the arts. In the context of linguistic and l

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19

Farrukhi, Asif. People All Around You. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190656546.003.0002.

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This chapter by Asif Farrukhi pays tribute to the Karachi-based poet Azra Abbas. Farrukhi presents a poignant selection of eleven of Abbas’ poems. These poems address experiences of fear, loneliness, grief, death and shock, in ways that political and random acts of violence insinuate themselves into domestic, commonplace experiences of “ordinary” everyday life in Karachi. Farrukhi shows how, in moving away from the traditional ghazal form of Urdu poetry, Abbas carved out a distinctive, unconventional style of gritty resistance. His relationship to Abbas’ work, and to the poems themselves, rais

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20

(Compiler), Paul B. Janeczko, and Chris Raschka (Illustrator), eds. A Kick in the Head: An Everyday Guide to Poetic Forms (Ala Notable Children's Books. Middle Readers). Candlewick, 2005.

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21

Allen, Edward, ed. Forms of Late Modernist Lyric. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781789622423.001.0001.

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What do we mean when call something a lyric poem? How many kinds of lyric are there? Are there fewer now than there were in 1920 or 1820 or 1620? The purpose of Forms of Late Modernist Lyric is to show that our oldest styles of poetic articulation have figured all too briefly in modern genealogies of lyric, and that they have proved especially seductive, curiously enough, to avant-garde practitioners in the Anglophone tradition. The poets in question have thickened the texture of lyric practice at a time when the growing tendency in critical circles has been to dissolve points of difference wi

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22

Nelson, Nicolas H. The Pleasure of Poetry. Praeger, 2006. http://dx.doi.org/10.5040/9798400697371.

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The poetry produced by the British poets of the 17th and 18th centuries is considered to be among the best ever written. But many general readers feel intimidated by the language or structure of the poetry, and so tend to shy away from enjoying these poets and their works. Nelson takes readers on a tour of the major works and figures of 17th- and 18th-century British poetry, explaining major themes, devices, styles, language, rhythm, sound, tone, imagery, form, and meaning. Beginning each chapter with a sketch of the poet's life and career, the author then looks at five or six representative w

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23

Lee, Desarae, Gibbs Gibbs Smith, A. F. Murray, and William Hughes Mearns. All Hallows' Eve. Gibbs Smith, Publisher, 2016.

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24

Gray, Erik. The Art of Love Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.001.0001.

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Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection be

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25

Linafelt, Tod. Poetry and Biblical Narrative. Edited by Danna Nolan Fewell. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199967728.013.6.

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Although virtually all other long narratives from the ancient world take the form of verse, biblical authors pioneered a prose style that, for reasons unknown, came to dominate ancient Hebrew narrative, relegating verse to nonnarrative genres. In other words, extended biblical Hebrew narrative always takes the form of prose, and biblical Hebrew poetry is nearly always nonnarrative. And yet, one finds authors and editors of the narratives dropping poems into the stories at key points, often because poetry provides literary resources unavailable in prose. By exploring both the form and function

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26

Ehnes, Caley. Victorian Poetry and the Poetics of the Literary Periodical. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474418348.001.0001.

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Victorian Poetry and the Poetics of the Literary Periodical considers the role of popular, commercial poetry in the development of mid-Victorian periodical culture and poetics. Focusing on the poetry of un-anthologized, unnamed, and underappreciated poets (alongside some canonical names), this monograph represents a direct response to Linda Hughes’s call for the study of periodical poetry over a decade ago in ‘What the Wellesley Index Left Out: Why Poetry Matters to Periodical Studies.’ It argues that periodical poems should matter to all those interested in Victorian poetry whether they care

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27

Allen, William. 3. Lyric and personal poetry. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199665457.003.0003.

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‘Lyric and personal poetry’ focuses on a wide range of poetry, from early Greek lyric to Roman love elegy. These various forms are united in their basis in the world of the speaker (the ‘I’ of the poem), whose ideas and experiences come to the fore. Greek lyric poetry embraces all early Greek poetry that is not epic or drama, and is sub-divided into smaller genres — iambus, elegy, and lyric poetry proper, both solo and choral. The main performance venues for these different forms of poetry were the symposium and the public festival. The lyric poetry of Sappho, Pindar, Ovid, Catullus, Tibullus,

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28

Levinson, Marjorie. Thinking Through Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.001.0001.

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This is a work of and about literary criticism. Its title signals a contribution to debates about reading. We think “through”—“by means of,” “with”—poems, sympathetically elaborating their surfaces. We “think through” poems to their end—solving a problem, getting to their roots. And we “think through” to “go beyond,” in a philosophical, speculative criticism to which the poem carries us. All three meanings of “through” are in play throughout. The subtitle applies “field” first to Romantic studies—offering new readings of canonical British Romantic poems to address contemporary topics (depth vs

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29

Camp, Elisabeth. The Poetry of Emily Dickinson. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190651190.001.0001.

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The six chapters of this volume collectively argue that Dickinson is an epistemically ambitious poet, who explores fundamental questions by advancing arguments with the purpose of convincing their audience. At the same time, Dickinson doesn’t just make philosophical claims, but demonstrates concretely how poetry can make a distinct contribution to philosophy, by exemplifying abstract ideas in tangible form and habituating readers into productive trains of thought. In this way, she doesn’t just make philosophical claims, but demonstrates how poetry can make a distinct contribution to philosophy

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30

Lecky, Katarzyna. Pocket Maps and Public Poetry in the English Renaissance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834694.001.0001.

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If maps are instruments of power, then it matters that in Renaissance Britain they were often found in the pockets of ordinary people. Pocket Maps and Public Poetry in the English Renaissance demonstrates how early modern British poets paid by the state adapted inclusive modes of nationhood charted by inexpensive, small-format maps. It places chapbooks (“cheapbooks”) by Edmund Spenser, Samuel Daniel, Ben Jonson, William Davenant, and John Milton into conversation with the portable cartography circulating in the same retail print industry. Domestic pocket maps were designed for heavy use by a b

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31

Lyon, Travis. Forms of Poetry. TeaLemon Publications, 2004.

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32

Schaffer, Frank. Forms of Poetry. Frank Schaffer, 2001.

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33

McLeish, Tom. The Poetry and Music of Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198797999.001.0001.

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‘I could not see any place in science for my creativity or imagination’, was the explanation, of a bright school leaver to the author, of why she had abandoned all study of science. Yet as any scientist knows, the imagination is essential to the immense task of re-creating a shared model of nature from the scale of the cosmos, through biological complexity, to the smallest subatomic structures. Encounters like that one inspired this book, which takes a journey through the creative process in the arts as well as sciences. Visiting great creative people of the past, it also draws on personal acc

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34

Coffey, Ann. Verse Forms (Practical Poetry). Cherrybite Publications, 1998.

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35

Johnson, Charles Frederick. Forms of English Poetry. University of Michigan Library, 2009.

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36

McDowell, Robert. Nine Forms of Poetry. Pearson Education, Limited, 2010.

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37

Sedgwick, Fred. Forms of Poetry 1. Folens Publishers, 2000.

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38

Fox-Lockert, Lucia. Formas: Poesia = Forms : Poetry. Shamballa Publications, 1985.

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39

Arp - Poetry of Forms. Kroller-Muller Museum, 2017.

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40

Sonthalia, Akshay, Dale Hensaring, Katherine Carlman, and Jenna Ashlyn. Dwelling Forms. Poets' Choice, 2020.

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41

All poetry. New London Librarium, 2022.

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42

Gothic Forms of Victorian Poetry. Edinburgh University Press, 2024.

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43

Moy, Olivia Loksing. Gothic Forms of Victorian Poetry. Edinburgh University Press, 2022.

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44

Moy, Olivia Loksing. Gothic Forms of Victorian Poetry. Edinburgh University Press, 2022.

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45

Moy, Olivia Loksing. Gothic Forms of Victorian Poetry. Edinburgh University Press, 2022.

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46

The Language of Poetry Forms. PublishAmerica, 2007.

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47

Brink, Dean Anthony. Poetics and Justice in America, Japan, and Taiwan. The Rowman & Littlefield Publishing Group, 2021. https://doi.org/10.5040/9781978721821.

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Poetics and Justice in America, Japan, and Taiwan shows how entitlements are implicated in all areas of life—human and nonhuman—that poetry reaches. Through a creative adaptation of Badiou’s philosophical framing, this book argues that poetry matters as a form of media particularly suited to integrating diverse fields of knowledge and attention in newspapers, Tweets, and performance as well as volumes of poetry. Recasting intertextuality as more relational than referential, the author argues for the importance of poetry in realizing how social change and ecological justice are bound up in our

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48

Barton, William M., L. B. T. Houghton, Stephen Harrison, et al., eds. An Anthology of Neo-Latin Poetry by Classical Scholars. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350379480.

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Presenting a range of Neo-Latin poems written by distinguished classical scholars across Europe from c. 1490 to c. 1900, this anthology includes a selection of celebrated names in the history of scholarship. Individual chapters present the Neo-Latin poems alongside new English translations (usually the first) and accompanying introductions and commentaries that annotate these verses for a modern readership, and contextualise them within the careers of their authors and the history of classical scholarship in the Renaissance and early modern period. An appealing feature of Renaissance and early

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49

Form of Forms. BookThug, 2012.

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50

Form of Forms. BookThug, 2012.

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