Download How to Read a Poem: And Fall in Love with Poetry, by Edward Hirsch
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How to Read a Poem: And Fall in Love with Poetry, by Edward Hirsch
Download How to Read a Poem: And Fall in Love with Poetry, by Edward Hirsch
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Review
"A lovely book, full of joy and wisdom."-The Baltimore Sun "Hirsch's contribution is significant, [grounded] in the obvious pleasure he has experienced through words. . . . Who could resist the wiles of this poetry-broker-a writer rapidly becoming the baby boomers' preeminent man of letters?"-Detroit Free Press "Laudable . . . The answer Hirsch gives to the question of how to read a poem is: Ecstatically."-The Boston Book Review
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About the Author
EDWARD HIRSCH is a celebrated poet and peerless advocate for poetry. A MacArthur fellow, he has published nine books of poems and five books of prose. He has received numerous awards and fellowships, including a National Endowment for the Arts Fellowship, the Rome Prize, a Pablo Neruda Presidential Medal of Honor, and the American Academy of Arts and Letters Award for Literature. He serves as president of the John Simon Guggenheim Memorial Foundation and lives in Brooklyn.
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Product details
Series: Harvest Book
Paperback: 354 pages
Publisher: Harvest Books; First edition (March 7, 2000)
Language: English
ISBN-10: 0156005662
ISBN-13: 978-0156005661
Product Dimensions:
6 x 0.9 x 9 inches
Shipping Weight: 1 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
90 customer reviews
Amazon Best Sellers Rank:
#317,186 in Books (See Top 100 in Books)
If one were to judge solely by the mundane title, one might expect this to be a different book—i.e. more along the lines of “Poetry for Dummies.†That’s not what Hirsch is offering with his book. There’s plenty of opportunity to learn to differentiate pentameter from tetrameter or a lyric from an epic poem, but the book isn’t arranged according to such fundamentals. It might even take one a few pages (or chapters) to realize there is an organizing structure. But you’ll get there because of the author’s contagious passion for poetry and his presentation, and an analysis, of many beautiful poems by masters such as Keats, Yeats, Whitman, Dickinson, Frost, Neruda, and many others--more ancient or modern and equally or less well known. In the end, you’ll think of poetry in a new light.The book is arranged into 12 chapters, each of which looks at poetry from a different dimension. Chapter 1 considers the poem in two ways. First, it emphasizes the importance of the reader, i.e. the poem is presented as an interaction rather than an act of transmission. Second, the author considers how various poets have defined poetry, and what we can learn from said definitions—besides that poetry is defiant in the face of definition. (Like a wet bar of soap, the tighter one tries to grasp it, the less one succeeds.) Chapter 2 continues to investigate the nature of a poem using the framework of the word’s etymology, coming from the ancient Greek word meaning “to makeâ€--thus the chapter title: “A Made Thing.â€Chapter three delves into the making of connections (or lack thereof) as a theme in poetry. As with most of the book’s chapters, it’s built around a small number of poems that elucidate the author’s point. In this case, poems by Keats, James Wright, and Baudelaire are used to describe cases in which a human connection is sought, in which it momentarily exists, and in which it is shunned. As is true of other chapters, this doesn’t mean that these three poems are all that are mentioned. It’s just that they are given in-depth analysis, while other poems and fragments are referenced to help illustrate points.Chapter four is entitled “Three Initiations†and it introduces three types of poetry through quintessential examples. The three types of poems are: 1.) poetry of trance; 2.) poetry of praise; and 3.) poetry of grief. The latter two may be more easily grasped than the first, which are poems that convey an altered state of consciousness.Chapter five examines the subject of authenticity and vividness in poetry and how poets convey such genuineness—even by way of surrealism. The classic example is Shakespeare’s sonnets that mock Petrarchan sonnets in suggesting a less hyperbolic form of love letter (i.e. Sonnet 130, “My mistress’ eyes are nothing like the sunâ€)Chapter six is entitled, “5 Acts,†and, as such, it covers five different subjects through the motif of a play. This first act is about opening poems or introductory soliloquys. The second act is about drama and its role in verse, and is heavily influence by a quote from Robert Frost (i.e. “Everything written is as good as it is dramatic.â€) Act three is about what might be called “character†in the scheme of a play, but is really about the personhood of a poem. Act four delves into the topic of dialogue as a poetic tool. The last act is about concluding poems / death poems—as exemplified by BashÅ’s deathbed poem and the postcard poems written by Miklós Radnóti on a Holocaust death march.Chapter seven considers desolation as a theme in poetry. The next chapter places poetry in the context of history, using Polish poetry of war and Holocaust to convey the emotion and numbness of tragic events. Chapter nine proposes a nexus between art and justice, and looks at how this is displayed through jeremiads and political poems. The two core examples of this chapter are a work song by Sterling Brown and an ode by Pablo Neruda.Along with chapter four’s “poetry of trance,†I found chapter ten’s discussion of poems that transport the reader to a moment of epiphany--or ecstatic / transcendental experience--to be particularly fascinating. There are a couple modern pieces that Hirsch presents herein, but some work by Dickinson introduces the topic and truly shows how it’s done. Chapter eleven presents the soul as a poetic theme. The poem gives substance to that which is inherently insubstantial, but which is somehow essential and beyond refute. Walt Whitman’s references to the soul offer particularly vivid insight on this question.The last chapter is a brief echo of the first, reiterating the role of the reader and the need for poetic definitions for poetry because any definition that tries to capture the medium in precise prose loses it as it’s reinvented countless times over. If one prefers a simple and direct definition of poetry—e.g. writing that displays meter and rhyme--this is may not be your go-to book. (You might prefer a book such as Fry’s “The Ode Less Traveled†that is more dogmatic about prosody as the sine qua non of poetry.)As for ancillary material, there is a huge glossary. It’s huge not by virtue of containing a vast number of words, but rather because it goes into considerable detail on most of the entries. There is also an extensive and thoroughly organized “recommended reading†section. The book also offers discussion questions for those who want to review or used the book for a book club or whatnot. There’s not much by way of graphics, except for one or two displays of visually-oriented forms of poetry, but there’s no need of more than that.I found this book to be insightful and I welcomed the unique way in which the author divvied up and evaluated the topic of poetry. If you enjoy poetry, or if you write it, there is much to be garnered from reading this book.
The book is wonderful, for both newcomers to poetry and seasoned readers. Unfortunately this Kindle version is filled with typos. Often the typos appear in the lines of quoted poetry themselves, which is really unforgivable. Someone, for example, seems to have done a search and replace for the word “die,†so that “the†appears instead of “die†in multiple lines of poetry. Someone should be checking the digital texts you’re using Amazon, because a scholar like Hirsch deserves better, the poets he’s quoting deserve better, and so do the readers.
He does a super job of explaining how and why he reads poems. Strangely he likes some very little known works, but he is quite good at exploring their beauty. I found this book hard to put down, and read most of it in just one or two days. I love the concept he uses of comparing reading a poem to finding a message in a bottle, since most poems we read are chance occurrences where a person meets the mind and the heart of a poet in some random opportunity, but finds infinite delight in the discovery. Nobody can properly define a poem, but this gentleman takes you a long way toward understanding and appreciating a good poem.
It has been a long while since I've been unable - not simply unwilling - to finish a book I started. In this case, however, I struggled with Hirsch's overwrought prose at every turn. As a newcomer to poetry (but no stranger to academic writing) I was expecting much more of a primer and a basic guide; instead I was faced with allusions to works I haven't yet encountered, an appalling lack of coherent organizing structure, and overlong, lofty descriptions of poetry without the benefit of context.Had I known its contents I would never have purchased this book. Here's hoping that Poetry for Dummies is both more informative and less insufferable.
Edward Hirsch's prose reads like poetry, and no wonder as he, himself, is an accomplished poet. I ordered this book after reading Pearl London's interview of Hirsch in her poetry class, recounted in her POETRY IN PERSON. My intention was and continues to be a guide in developing my own voice and form through study of his scholarly analyses of a wide range of poets, stretching my mind to embrace poets I never knew about from Anna Ahkmatova to Alice Walker (novelist who writes poetry, too), sending me searching library shelves and the internet to find them. Moreover, he has given me courage--inadvertently, perhaps--to exercise new techniques. Always, it seemed, he returns to my own favorite muse, Elizabeth Bishop. In short, Hirsch lies open on my desk more often than stands on a book shelf.
This is a book that you read with a notepad and pen in hand. There was just too much that I wanted to take notes on. I may never go back and read them, but I think writing them down stuffed them into some dark crevice in my mind that I will refer to later. Anyone who likes the printed word should read this book.
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