Part of Nature, Part of Us
Modern American Poets New edition
By (author) Helen Vendler
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Part of Nature, Part of Us by Helen Vendler
Book DescriptionJoin Professor Helen Vendler in her course lecture on the Yeats poem "Among School Children." View her insightful and passionate analysis along with a condensed reading and student comments on the course.The poets nearest to us in time often seem the most remote and difficult. Helen Vendler closes the distance. She keeps the poet in view not only as thinker and artist, but as a man or woman whose humanity never disappears in her analysis. With her penetrating critical gift, Vendler assesses American poets from T. S. Eliot to Charles Wright.
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Book DetailsISBN: 9780674654761
(229mm x 146mm x 23mm)
Imprint: Harvard University Press
Publisher: Harvard University Press
Publish Date: 1-Jul-1980
Country of Publication: United States
Books By Author Helen Vendler
Ocean, the Bird, and the Scholar, Hardback (May 2015)
One of our foremost commentators examines the work of a broad range of English, Irish, and American poets. Helen Vendler's essays, book reviews, and occasional prose from the past two decades, taken together, are an eloquent plea for the centrality--in humanistic study and modern culture--of poetry's subversive, sustaining, and demanding legacy.
Dickinson, Paperback (November 2012)
Seamus Heaney, Denis Donoghue, William Pritchard, Harold Bloom, and many others have praised the author as one of the most attentive readers of poetry. In this title, she turns her illuminating skills as a critic to 150 selected poems of Emily Dickinson. She serves as a guide, considering the stylistic and imaginative features of the poems.
Imagination and Logos, Hardback (November 2010)
Explores interdisciplinary approaches to the poetics, intertexts, and influence of the work of C P Cavafy (Konstantinos Kavafis), one of the most important twentieth-century European poets.
Last Looks, Last Books, Hardback (March 2010)» View all books by Helen Vendler
Examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. This title focuses on the books: "The Rock", "Ariel", "Day by Day", "Geography III" and "A Scattering of Salts".
US Kirkus Review » There is no denying Helen Vendler's seriousness, her willingness to approach modern poetry's mass with a critical density of equal proportion. Her style and her sympathy are rich, her preferences plain: for late Stevens ("the elegiac sublime of ruins. . . the celebratory sublime of inception"), for Robert Lowell ("History and its companion volumes. . . contain the first legitimate continuance of Shakespeare's sonnets since Keats. . . the quin essential beauty of the appalling exactly drawn. . ."). But in these collected essays (most of which previously appeared in periodicals), her blindspots also merge. Poetry that does not, in Stevens' phrase, move from an "ever-early candor to its late plural," that does not offer as its terminal a metaphysical or contemplative or philosophical Taj Mahal, that does not enlarge of its own consummated thought - poetry like this she simply does not see. When she says that Howard Nemerov's poems rise from contemplation of "the will's rebellion against necessity, history's repetitions, the pitfalls of the literary life, and the perpetual discrepancy between hope and event," she really means it; she believes that poetry fills eidetic shapes preexistent in the mind of the poet, So she'll chide Frank O'Hara for resisting abstraction, for never tying up his poetry with the twine of reflection (yet will call James Merrill's "espousal of the conversational as the ultimate in linguistic achievement" a "moral choice, one which locates value in the human and everyday rather than in the transcendental" - the difference presumably being that Merrill's "plural" credentials are more in order than O'Hara's). Past Lowell, Stevens, and Merrill, then, she is mostly lost. She waves approval toward only the very safest of the new (the congested, chalky poetry of Dave Smith, the cloissone-work of Louise Gluck); and when she reviews Black poetry, you feel she's slumming, over-eager. Her phrase-making can be sharply satisfying (A. R. Ammons is "like a guitarist presented every day with a different senorita in the balcony") but, overall, it seems used as a defensive whip that flicks away the hoi-polloi, the unwashed who will not summarize, deduce, or walk stately among the sepulchres of the examined life. The total effect? She makes poetry - and this is all the more a pity, since she's so energetic and giving - into an elephant's graveyard. (Kirkus Reviews)
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Author Biography - Helen Vendler
Helen Vendler is A. Kingsley Porter University Professor at Harvard University.
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