The chapter examines the rhythms of prose poetry, which are different from those found in metered verse, and vary, too, from the rhythms of free verse. The main differences relate to what has sometimes been understood as a deficiency in prose poetry — namely, that prose poets do not have meter or the poetic line when they try to achieve effects of cadence or musicality. But because of the English language's grammatical flexibility, these resources allow for an almost infinite rhythmic variety in prose poems. Such variety is a crucial part of the prose poetry tradition, notwithstanding the deliberately fractured rhythms or flat tonality of some works. William Wordsworth wrote lineated poetry, but in expressing a view that prose and poetry ought to be written in the same kind of language, and in repudiating what he understood to be “poetic diction,” Wordsworth opened the way for English-language poets to explicitly recognize the connections between poetry and prose. In other words, he helped to lay the ground not only for English-language free verse but for English-language prose poetry, too.
{"title":"Prose Poetry, Rhythm, and the City","authors":"P. Hetherington, C. Atherton","doi":"10.2307/j.ctv10crd4v.6","DOIUrl":"https://doi.org/10.2307/j.ctv10crd4v.6","url":null,"abstract":"The chapter examines the rhythms of prose poetry, which are different from those found in metered verse, and vary, too, from the rhythms of free verse. The main differences relate to what has sometimes been understood as a deficiency in prose poetry — namely, that prose poets do not have meter or the poetic line when they try to achieve effects of cadence or musicality. But because of the English language's grammatical flexibility, these resources allow for an almost infinite rhythmic variety in prose poems. Such variety is a crucial part of the prose poetry tradition, notwithstanding the deliberately fractured rhythms or flat tonality of some works. William Wordsworth wrote lineated poetry, but in expressing a view that prose and poetry ought to be written in the same kind of language, and in repudiating what he understood to be “poetic diction,” Wordsworth opened the way for English-language poets to explicitly recognize the connections between poetry and prose. In other words, he helped to lay the ground not only for English-language free verse but for English-language prose poetry, too.","PeriodicalId":115011,"journal":{"name":"Prose Poetry","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127066696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-13DOI: 10.1515/9780691212135-008
P. Hetherington, C. Atherton
This chapter describes the use of visual imagery in prose poetry. It examines how such imagery relates to evocations of memory, and the continuing connection of some of prose poetry's effects to those generated by photographs and ekphrastic responses to a range of art forms. Importantly, the connection between prose poetry and photography is also historical. The combination of nostalgia, modernity, and fragmentation found in Charles Baudelaire's prose poems is not unlike the qualities evident in many photographs from the period. Ever since Baudelaire and Arthur Rimbaud, many prose poems have been dependent on striking visual imagery, enabling readers to “see” what they are invoking — and this remains true into the twenty-first century. Indeed, some contemporary prose poets connect photography and prose poetry in descriptions of their creative practice, or in references to photographs in their works.
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Pub Date : 2020-10-13DOI: 10.1515/9780691212135-005
P. Hetherington, C. Atherton
This chapter focuses on ideas of open form and closure in prose poetry. While lineated lyric poetry is typically highly suggestive and open to various interpretations, it simultaneously tends toward conveying a sense of formal resolution and closure. The attention to formal elements in lineated lyric poetry, including the beginnings and endings of lines and the opening and closing of works, is very different from other kinds of less formalized writing — including prose poetry, where sentences are drawn together in paragraphs rather than separated. Prose poetry refuses lineated poetry's rhythmic closure even as it visually preempts its conclusion in the capacious white space that follows the last sentence of the paragraph. In other words, openness and closure are likely to be manifested very differently in lineated poems compared to prose poems. Prose poems have their own integrity as works, but their sense of completeness turns on their appeal to incompleteness in the same way as the literary fragment. Structurally, prose poetry's use of the sentence rather than the line as its unit of composition allows the poet to engage in “narrative digression.”
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This chapter discusses the relationship between prose poetry and very short literary forms, which are proliferating online and in print. While novels, short stories, lineated lyric poems, and dramatic works have been at the center of literary practice for centuries, contemporary writers are reinvigorating the understanding of genre and form — and some of their writing does not sit comfortably within conventional literary classifications. To an extent, this is true of prose poetry in general, and it is certainly true of hybrid works that contain, reframe, or transform prose poetry. This is not to suggest that all hybrid prose-poetical works are products of the late twentieth or early twenty-first century. There are many early examples of hybrid works that make use of poetic prose. However, many contemporary hybrid works that make use of very short prose forms are especially notable for their emphasis on an irredeemable sense of fracture, and such works are increasingly being accepted as central to the literary world. This recent growth in the popularity and esteem of very short literary forms provides a new and positive context for understanding prose poetry and its scholarship.
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This chapter highlights the tradition of English-language prose poetry by women. It explores what women's prose poetries may be — not only in terms of content and approach but in terms of technique and emphasis. The chapter begins by looking at Holly Iglesias's seminal text, Boxing Inside the Box: Women's Prose Poetry (2004), which is the most comprehensive study of women's prose poetry to date. Iglesias advocates for the liberation of women prose poets, using the prose poem box as a metaphor for their containment. Beginning with Carolyn Forché's famous and disturbing prose poem about male power and brutality, “The Colonel,” and ending with C. D. Wright's hybrid prose poem essay, Iglesias's book celebrates women prose poets by giving them space and prominence. Ultimately, the neglect of many women prose poets did not occur because women were not writing prose poems; it is just that many women were not writing the kinds of prose poems that fit the prevalent critical view of what successful prose poems might look like.
这一章着重介绍了英语女性散文诗的传统。它探讨了女性散文诗可能是什么——不仅在内容和方法方面，而且在技巧和重点方面。本章从霍莉·伊格莱西亚斯的开创性作品《盒子里的拳击:女性散文诗》(2004)开始，这是迄今为止对女性散文诗最全面的研究。伊格莱西亚斯主张女性散文诗诗人的解放，用散文诗的盒子来隐喻她们的禁锢。Iglesias的书以Carolyn forch著名而令人不安的关于男性权力和残暴的散文诗《上校》(The Colonel)开始，以C. D. Wright的混合散文诗结尾，通过给予女性散文诗诗人空间和突出地位来颂扬她们。最终，许多女性散文诗诗人被忽视的现象并没有发生，因为女性不写散文诗;只是很多女性写的散文诗不符合流行的评论界对成功散文诗的看法。
{"title":"Women and Prose Poetry","authors":"P. Hetherington, C. Atherton","doi":"10.2307/j.ctv10crd4v.12","DOIUrl":"https://doi.org/10.2307/j.ctv10crd4v.12","url":null,"abstract":"This chapter highlights the tradition of English-language prose poetry by women. It explores what women's prose poetries may be — not only in terms of content and approach but in terms of technique and emphasis. The chapter begins by looking at Holly Iglesias's seminal text, Boxing Inside the Box: Women's Prose Poetry (2004), which is the most comprehensive study of women's prose poetry to date. Iglesias advocates for the liberation of women prose poets, using the prose poem box as a metaphor for their containment. Beginning with Carolyn Forché's famous and disturbing prose poem about male power and brutality, “The Colonel,” and ending with C. D. Wright's hybrid prose poem essay, Iglesias's book celebrates women prose poets by giving them space and prominence. Ultimately, the neglect of many women prose poets did not occur because women were not writing prose poems; it is just that many women were not writing the kinds of prose poems that fit the prevalent critical view of what successful prose poems might look like.","PeriodicalId":115011,"journal":{"name":"Prose Poetry","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133381270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter assesses the American neo-surreal as an influential strand of prose poetry, adapting ideas that originated with the surrealists to challenge assumptions about how the world should be understood, and prose-poetic narratives ought to be read. The term “neo-surrealism” does not have to be restrictive but may be used as a way of opening up an understanding of certain key features of prose poetry internationally. And while American prose poets are certainly not the first to experiment with surrealism, many contemporary American prose poets demonstrate a particular interest in absurdism and neo-surrealism. As a result, neo-surrealism is arguably best exemplified by American prose poets — in terms of the number of writers employing such techniques and the quality of neo-surrealistic works being written. Notwithstanding its contemporaneity, the neo-surrealistic strand of prose poetry maintains a clear — if sometimes lateral — connection to the strange and often dreamlike works produced by nineteenth-century French prose poets such as Charles Baudelaire and Arthur Rimbaud.
{"title":"Neo-Surrealism within the Prose Poetry Tradition","authors":"P. Hetherington, C. Atherton","doi":"10.2307/j.ctv10crd4v.8","DOIUrl":"https://doi.org/10.2307/j.ctv10crd4v.8","url":null,"abstract":"This chapter assesses the American neo-surreal as an influential strand of prose poetry, adapting ideas that originated with the surrealists to challenge assumptions about how the world should be understood, and prose-poetic narratives ought to be read. The term “neo-surrealism” does not have to be restrictive but may be used as a way of opening up an understanding of certain key features of prose poetry internationally. And while American prose poets are certainly not the first to experiment with surrealism, many contemporary American prose poets demonstrate a particular interest in absurdism and neo-surrealism. As a result, neo-surrealism is arguably best exemplified by American prose poets — in terms of the number of writers employing such techniques and the quality of neo-surrealistic works being written. Notwithstanding its contemporaneity, the neo-surrealistic strand of prose poetry maintains a clear — if sometimes lateral — connection to the strange and often dreamlike works produced by nineteenth-century French prose poets such as Charles Baudelaire and Arthur Rimbaud.","PeriodicalId":115011,"journal":{"name":"Prose Poetry","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121313905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter studies another central feature of prose poetry: the use of metonymy and metaphor. Metonymy allows writers to use phrases or individual words in ways that suggest an array of meanings, enriching and adding complexity to their writing — and there are many kinds and examples of metonymy, just as there are many kinds of metaphor. Metonymy is especially important to prose poems because it complements, enhances, and complicates their literal and metaphorical meanings. The chapter then discusses the importance of such figurative language to reading and interpreting individual works, allowing an understanding of the ways in which many prose poems simultaneously present a variety of possible (often shifting) interpretations. It also looks at prose poetry's resonant employment of intertextuality to enrich its content.
{"title":"Metaphor, Metonymy, and the Prose Poem","authors":"P. Hetherington, C. Atherton","doi":"10.2307/j.ctv10crd4v.11","DOIUrl":"https://doi.org/10.2307/j.ctv10crd4v.11","url":null,"abstract":"This chapter studies another central feature of prose poetry: the use of metonymy and metaphor. Metonymy allows writers to use phrases or individual words in ways that suggest an array of meanings, enriching and adding complexity to their writing — and there are many kinds and examples of metonymy, just as there are many kinds of metaphor. Metonymy is especially important to prose poems because it complements, enhances, and complicates their literal and metaphorical meanings. The chapter then discusses the importance of such figurative language to reading and interpreting individual works, allowing an understanding of the ways in which many prose poems simultaneously present a variety of possible (often shifting) interpretations. It also looks at prose poetry's resonant employment of intertextuality to enrich its content.","PeriodicalId":115011,"journal":{"name":"Prose Poetry","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129265328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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