PDF Download A Poetry Handbook
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A Poetry Handbook
PDF Download A Poetry Handbook
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Amazon.com Review
This slender guide by Mary Oliver deserves a place on the shelves of any budding poet. In clear, accessible prose, Oliver (winner of both the Pulitzer Prize and the National Book Award for poetry) arms the reader with an understanding of the technical aspects of poetry writing. Her lessons on sound, line (length, meter, breaks), poetic forms (and lack thereof), tone, imagery, and revision are illustrated by a handful of wonderful poems (too bad Oliver was so modest as to not include her own). What could have been a dry account is infused throughout with Oliver's passion for her subject, which she describes as "a kind of possible love affair between something like the heart (that courageous but also shy factory of emotion) and the learned skills of the conscious mind." One comes away from this volume feeling both empowered and daunted. Writing poetry is good, hard work.
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From Publishers Weekly
National Book Award winner Oliver ( New and Selected Poems ) delivers with uncommon concision and good sense that paradoxical thing: a prose guide to writing poetry. Her discussion may be of equal interest to poetry readers and beginning or experienced writers. She's neither a romantic nor a mechanic, but someone who has observed poems and their writing closely and who writes with unassuming authority about the work she and others do, interspersing history and analysis with exemplary poems (the poets include James Wright, William Carlos Williams, Elizabeth Bishop, Marianne Moore and Walt Whitman). Divided into short chapters on sound, the line, imagery, tone, received forms and free verse, the book also considers the need for revision (an Oliver poem typically passes through 40 or 50 drafts before it is done) and the pros and cons of writing workshops. And though her prose is wisely spare, a reader also falls gladly on signs of a poet: "Who knows anyway what it is, that wild, silky part of ourselves without which no poem can live?" or "Poems begin in experience, but poems are not in fact experience . . . they exist in order to be poems." Copyright 1994 Reed Business Information, Inc.
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Product details
Paperback: 130 pages
Publisher: Mariner Books; First edition (August 15, 1994)
Language: English
ISBN-10: 9780156724005
ISBN-13: 978-0156724005
ASIN: 0156724006
Product Dimensions:
5.3 x 0.4 x 8 inches
Shipping Weight: 6.4 ounces (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
173 customer reviews
Amazon Best Sellers Rank:
#6,664 in Books (See Top 100 in Books)
As many 1-star reviewers have said, this book reads like "fluff", or in a time before the internet it might have been a helpful collection of definitions. I felt Oliver was being a cheerleader instead of a teacher. "Yay Poetry, yay team." If you want to know how she parses a poem, you don't get that here. I think this book is for the absolute, very-bottom beginner -- and I recognize that some people need a very gentle introduction to poetry, and that's okay -- but I guess I expected more. Help us understand how to scan a poem. What makes free verse like Williams' so intriguing? Something...something. Move along, these aren't the droids you're looking for.
One of America's best poets writes an amazing book about how to create poetry. Simply brilliant. Even if the reader has no intention of writing his or her own poems, this book is interesting and inspiring from a pure creativity mindset. One chapter in particular stuck with me (analysis of meter), and her breakdown of Robert Frost's "Stopping by woods on a snowy evening" was so impressive that I have actually shared what I learned with others. Highly recommended, especially for those budding poets among us.
I sooo did not want to teach my kids poetry! I had a wonderful teacher when I was in high school many years ago, but I have forgotten a lot. I almost skipped teaching poetry altogether, which would have felt like homeschool malpractice. I got this book based on Amazon reviews, and it has sat on the shelf for the past several months. I finally picked it up and read the first section. Short, very approachable, and very engaging. We have been working through the book bit by bit and have been gaining the confidence that, I believe, will eventually lead to actually writing poetry. The writing in the book is excellent, which is a powerful selling point for studying poetry. Where I was previously afraid of exploring poetry with my kids, I see that, for the education I have in mind for my kids, including poetry will be essential. I'm so glad I found this book!
Been writing poetry on and off and recently decided it was more of a calling than I made space for in my life. I'm not a slam poetry kind of person and I have no formal education in poetry. I sometimes feel as if I really don't know what I'm doing or why and follow my guts only (not a bad thing necessarily but it also felt limiting) . This book helped me to change my thinking about my work, in particular how important rhythm and line breaks can be, how purposeful.I still want to look at formal structures and do more self education but I found this to be accessible and informative in a way that addressed my needs pretty precisely.
“One of the difficult tasks of rewriting is to separate yourself sufficiently from the origins of the poem— your own personal connections to it. Without this separation, it is hard for the writer to judge whether the written piece has all the information it needs—the details, after all, are so vivid in your own mind, on the other hand, because of this very sense of ownership, the poem is often burdened with a variety of ‘true’ but unhelpful details.â€*Mary Oliver’s A POETRY HANDBOOK is slim and powerful volume. She covers a ton of ground and uses examples to illustrate her points. This handy book discusses the use of rhetorical devices, sound, the line, a sampling of forms, free verse, diction, tone, voice, imagery, and revision, while weighing in on the use of imitation, solitude, and workshops. Oliver makes poetry accessible and encourages writers to experiment and play.While reading the book, I gave form to a poem that had been rattling around in my brain. The book is not intimidating, rather it provides inspiration and encouragement.*Oliver’s quotation can also apply to prose revision. It’s always good to remember the difference between what is written on the page vs. what resides in the writer’s head.
As an aspiring poet, I read Mary Oliver's "A Poetry Handbook" taking a seat as a student of poetry. I found it easy to capture key concepts, while learning the history of poetry technique and style. And, I gained an understanding of what's needed to write a poem that resonates with the reader. The book is more technical in approach and may leave others who are not interested in learning the mechanics of writing or studying poetry behind. Though, the point is well taken from Mary that "poetry lives through genius AND technique." She offers the value of handbooks, writing workshops, etc. as a support, while emphasizing that the poem requires of the writer "a patch of profound and unbroken solitude." This is and will always be the way you tap into your voice.
This book was extremely entertain. I loved how well it was put together, actually pulling me in and tickling my creative brain. I seriously enjoyed her writing style, realizing 3/4 of the way through, that I was reading a “how-to-book†for enjoyment.
I learned more from this book than I did in my college Poetry Writing and Creative Writing courses combined. Her words are easy to follow and they are placed in an order where one premise follows another. As a poet, the opportunity to learn from a master was one I could not pass up. And, learn I did.
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