Sylvia Plath's oeuvre from "Full Fathom Five" to the culminating poems Eliot's The Waste Land, Robert Hayden's "Middle Passage," W. These lines have haunted twentieth-century poetry, making notableĪppearances, for example, in T. The lines Ariel speaks to Ferdinand are among the Invisible sprite dwelling on the island who tells him (wrongly) that his father has drowned. I, scene 2, of Shakespeare's The Tempest, when Ferdinand, son ofĪlonso, King of Naples, having survived a shipwreck, is tormented by an Painting, Ferdinand Lured by Ariel (1850). Paradoxically, belonged to the nineteenth century, John Everett Millais' The most truly contemporary image I discovered, "image of the poet" than the classic forms full of fastidious elegance surveyed by David Piper. In choosing a cover for this issue I found myself drawn to a different And as multicultural poetry increases in visibility during the next century, it will increase in audibility too-as song, as protest, Verse presented to us in the media, in classrooms, in public forums, in The voice of poetry in our heads, refracted from the audible speech of As readers we are ever more likely to hear We can claim lyric expression as one of the dominant modes of humanĬommunication in our time. If we set aside misgivings and count popular song as poetry, then Ubiquitous, and poetry slams hold championship contests after world On record, on tape, on disk, on radio, on television. Ours is an era when the poet's orality is an essential part of our experience of verse. Nothing could be further from the sense of poetry in our own time than Lucid and lucent material incorporations of intellect and imagination." Sometimes raucous and irreverent authors but "Platonic essences. These silent figures, says Piper, are not so much faithful mimicries of Of necessity these representations are mute, and almostĪll of them depict "dignified gentlemen" with a reverential formality. Painted portraits and sculpted busts of British poets from Chaucer to ![]() ![]() The need for an emphasis on "Voice" occurred to me while readingĭavid Piper's book of 1982, The Image of the Poet, which surveys the The result is a double issue-fall and winter Only about poetry but any number of topics, including the sister arts, andĮven the domestic arts. Imaginative lens, to take stock of what poets are saying these days not That special issue has proven toīe one of the most popular in our recent history, especially in the classroom, and so it seemed reasonable to take another sounding of the poetic sensibility in our time: to view the world through a certain kind of We associate with the vocation of poetry. Some kind of consensus about any topic, least of all poetry, but to provide a showcase for the vitality of mind and the originality of language In different voices: as essayists, as reviewers, as fiction writers, as interviewees, and of course as authors of verse. In our fall issue five years ago MQR provided a forum for poets to speak
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