Search results for ""Author Stephanie Burt""

Stephanie Burt's poems in We Are Mermaids are never just one thing. Instead, they revel in their multiplicity, their interconnectedness, their secret powers to become much more than they at first seem. In these poems, punctuation marks make arguments for their utility and their rights to exist. Frozen isn't simply another Disney animated musical but "the Most Trans Movie Ever." Mermaids, werewolves, and superheroes don't just fret over divided natures and secret identities, but celebrate their wholeness, their unique abilities, and their erotic potential. Flowers in this collection bloom into exactly what they are meant to be-revealing themselves, like bleeding hearts, beyond their given names. With humor and insight, Burt's poems have always cherished and examined the things of this world, both real and imagined objects of fascination and desire. In this resplendent new collection, her observation and care flourish into her most fulfilled book yet. These poems shake off indecisiveness and doubt to reach joys through romance and family, through nature (urban and otherwise), and through imaginative community. We Are Mermaids is a trans book, a fangirl book, a book about coming together. It's also Burt's best book.

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In Don't Read Poetry, award winning poet and literary critic Stephanie Burt offers an accessible introduction to the seemingly daunting task of reading, understanding, and appreciating poetry. She dispels preconceptions about poetry, explains how poems speak to one another, and how they can speak to our lives. It shows readers how to find more poems once they have some poems they like, and how to connect the poetry of the past to poetry of the present.Unlike other guides, Burt does not approach poetry chronologically, or by school, form, or poet. Instead, her book moves through six reasons to read poetry. These include "feeling and attitude," or how poems can embody, reflect, and share emotions, and "difficulty and frustration," or how poets present us with problems and let us see the world anew. Each chapter explores the theme through the works of various poets and their histories. Burt moves seamlessly from the "classics" - Sappho, Wordsworth, Plath &c - to poetry circulated in Riot Grrrl fanzines or on Twitter. She challenges the assumptions that most people make about "poetry," whether they think they like it or think they don't (it's all old; it's all incomprehensible; it's sappy, or soppy; it's lovely; it's uplifting; it's good if it's in the New Yorker; it can't be good if it's in the New Yorker) in order to help us cherish-and distinguish among-individual poems. If the book has one governing argument, it's this: Don't read "poetry"; read poems.Burt seeks to fill a gap by providing a book that, while suitable for course adoption, is written for the average trade reader. Don't Read Poetry stands apart from other books as well in the sheer range of forms considered (from aubades to zeugma-based, Twitter-friendly epigrams), and the timeline covered. For the first time, Burt will take full account of new styles of poetry from the past few decades-poetry dependent on the digital environment, for example, or on practices imported from gallery art, from radical social thought (CAConrad, or books from Ugly Duckling Presse), or the culture and language of Korean, and Native, and Chinese, and Latina/o/x, Americans, from Carter Revard to the current U.S Poet Laureate.Destined to become a classic, Don't Read Poetry is the perfect book for anyone confronting poetry for the first time, but also has much to teach the those fully immersed in the genre.

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Contemporary American poetry has plenty to offer new readers, and plenty more for those who already follow it. Yet its difficulty—and sheer variety—leaves many readers puzzled or overwhelmed. The critic, scholar, and poet Stephanie Burt sets out to help. Beginning in the early 1980s, where critical consensus ends, Burt canvasses American poetry of the past four decades, from the headline-making urgency of Claudia Rankine’s Citizen to the stark pathos of Louise Glück, the limitless energy of Juan Felipe Herrera, and the erotic provocations of D. A. Powell.The Poem Is You: Sixty Contemporary American Poems and How to Read Them is a guide to the diverse magnificences of American poetry today. It presents a wide range of poems selected by Burt for this volume, each accompanied by an original essay explaining how a given poem works, why it matters, and how the poem speaks to other parts of art and culture. Included here are some classroom classics (by Ashbery, Komunyakaa, Hass), less famous poems by very famous poets (Glück, Kay Ryan), and poems by prizewinning poets near the start of their careers (such as Brandon Som), and by others who are not—or not yet—well known.The Poem Is You will appeal to poets, teachers, and students, but it is intended especially for readers who want to learn more about contemporary American poetry but who have not known where or how to start. It describes what American poets have fashioned for one another, and what they can give us today.

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"At once erudite and colloquial" (New Yorker), this book provides an accessible introduction to the joys and challenges of poetry In Don't Read Poetry, poet and literary critic Stephanie Burt offers an accessible introduction to the seemingly daunting task of reading, understanding, and appreciating poetry. Burt dispels preconceptions about poetry and explains how poems speak to one another-and how they can speak to our lives. She shows readers how to find more poems once they have some poems they like, and how to connect the poetry of the past to the poetry of the present. Burt moves seamlessly from Shakespeare and other classics to the contemporary poetry circulated on Tumblr and Twitter. She challenges the assumptions that many of us make about "poetry," whether we think we like it or think we don't, in order to help us cherish-and distinguish among-individual poems.A masterful guide to a sometimes confounding genre, Don't Read Poetry will instruct and delight ingénues and cognoscenti alike.

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Early in the twentieth century, Americans and other English-speaking nations began to regard adolescence as a separate phase of life. Associated with uncertainty, inwardness, instability, and sexual energy, adolescence acquired its own tastes, habits, subcultures, slang, economic interests, and art forms. This new idea of adolescence became the driving force behind some of the modern era's most original poetry. Stephen Burt demonstrates how adolescence supplied the inspiration, and at times the formal principles, on which many twentieth-century poets founded their works. William Carlos Williams and his contemporaries fashioned their American verse in response to the idealization of new kinds of youth in the 1910s and 1920s. W. H. Auden's early work, Philip Larkin's verse, Thom Gunn's transatlantic poetry, and Basil Bunting's late-modernist masterpiece, Briggflatts, all track the development of adolescence in Britain as it moved from the private space of elite schools to the urban public space of sixties subcultures. The diversity of American poetry from the Second World War to the end of the sixties illuminates poets' reactions to the idea that teenagers, juvenile delinquents, hippies, and student radicals might, for better or worse, transform the nation. George Oppen, Gwendolyn Brooks, and Robert Lowell in particular built and rebuilt their sixties styles in reaction to changing concepts of youth. Contemporary poets continue to fashion new ideas of youth. Laura Kasischke and Jorie Graham focus on the discoveries of a specifically female adolescence. The Irish poet Paul Muldoon and the Australian poet John Tranter use teenage perspectives to represent a postmodernist uncertainty. Other poets have rejected traditional and modern ideas of adolescence, preferring instead to view this age as a reflection of the uncertainties and restricted tastes of the way we live now. The first comprehensive study of adolescence in twentieth-century poetry, The Forms of Youth recasts the history of how English-speaking cultures began to view this phase of life as a valuable state of consciousness, if not the very essence of a Western identity.

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Few poetic forms have found more uses than the sonnet in English, and none is now more recognizable. It is one of the longest-lived of verse forms, and one of the briefest. A mere fourteen lines, fashioned by intricate rhymes, it is, as Dante Gabriel Rossetti called it, “a moment’s monument.” From the Renaissance to the present, the sonnet has given poets a superb vehicle for private contemplation, introspection, and the expression of passionate feelings and thoughts.The Art of the Sonnet collects one hundred exemplary sonnets of the English language (and a few sonnets in translation), representing highlights in the history of the sonnet, accompanied by short commentaries on each of the poems. The commentaries by Stephanie Burt and David Mikics offer new perspectives and insights, and, taken together, demonstrate the enduring as well as changing nature of the sonnet. The authors serve as guides to some of the most-celebrated sonnets in English as well as less-well-known gems by nineteenth- and twentieth-century poets. Also included is a general introductory essay, in which the authors examine the sonnet form and its long and fascinating history, from its origin in medieval Sicily to its English appropriation in the sixteenth century to sonnet writing today in the United States, the United Kingdom, and other English-speaking parts of the world.

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Contemporary translations and adaptations of ancient Greek poet Callimachus by noted writer and critic Stephanie BurtCallimachus may be the best-kept secret in all of ancient poetry. Loved and admired by later Greeks and Romans, his funny, sexy, generous, thoughtful, learned, sometimes elaborate, and always articulate lyric poems, hymns, epigrams, and short stories in verse have gone without a contemporary poetic champion, until now. In After Callimachus, esteemed poet and critic Stephanie Burt’s attentive translations and inspired adaptations introduce the work, spirit, and letter of Callimachus to today’s poetry readers.Skillfully combining intricate patterns of sound and classical precedent with the very modern concerns of sex, gender, love, death, and technology, these poems speak with a twenty-first-century voice, while also opening multiple gateways to ancient worlds. This Callimachus travels the Mediterranean, pays homage to Athena and Zeus, develops erotic fixations, practices funerary commemoration, and brings fresh gifts for the cult of Artemis. This reimagined poet also visits airports, uses Tumblr and Twitter, listens to pop music, and fights contemporary patriarchy. Burt bears careful fealty to Callimachus’s whole poems, even as she builds freely from some of the hundreds of surviving fragments. Here is an ancient Greek poet made fresh for our times. An informative foreword by classicist Mark Payne places Burt's renderings of Callimachus in literary and historical context.After Callimachus is at once a contribution to contemporary poetry and a new endeavor in the art of classical adaptation and translation.

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Contemporary translations and adaptations of ancient Greek poet Callimachus by noted writer and critic Stephanie BurtCallimachus may be the best-kept secret in all of ancient poetry. Loved and admired by later Greeks and Romans, his funny, sexy, generous, thoughtful, learned, sometimes elaborate, and always articulate lyric poems, hymns, epigrams, and short stories in verse have gone without a contemporary poetic champion, until now. In After Callimachus, esteemed poet and critic Stephanie Burt’s attentive translations and inspired adaptations introduce the work, spirit, and letter of Callimachus to today’s poetry readers.Skillfully combining intricate patterns of sound and classical precedent with the very modern concerns of sex, gender, love, death, and technology, these poems speak with a twenty-first-century voice, while also opening multiple gateways to ancient worlds. This Callimachus travels the Mediterranean, pays homage to Athena and Zeus, develops erotic fixations, practices funerary commemoration, and brings fresh gifts for the cult of Artemis. This reimagined poet also visits airports, uses Tumblr and Twitter, listens to pop music, and fights contemporary patriarchy. Burt bears careful fealty to Callimachus’s whole poems, even as she builds freely from some of the hundreds of surviving fragments. Here is an ancient Greek poet made fresh for our times. An informative foreword by classicist Mark Payne places Burt's renderings of Callimachus in literary and historical context.After Callimachus is at once a contribution to contemporary poetry and a new endeavor in the art of classical adaptation and translation.

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