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How to Read Poetry Like a Professor: A Quippy and Sonorous Guide to Verse
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Review
“[An] accessible guide… [Foster’s] discussion of symbolism is particularly effective and may help readers learn to actually enjoy the experience of interpreting a poem… Students struggling to understand poetry, or even English instructors struggling to teach it, could benefit immensely from Foster’s guidance.” (Publishers Weekly)“Foster’s enthusiasm is infectious…he has clearly enjoyed teaching and sharing his love of literature with his students during his long career. How to Read Poetry Like a Professor is not unlike that freshman English class that everyone vies to enroll in—entertaining and informative without being intimidating. The curriculum is on point, and in the end, you’ll have the tools to truly ‘get’ poetry, with all its manifest themes and variations.” (BookPage)
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From the Back Cover
An essential primer to reading poetry that unlocks the keys to enjoying works from Lord Byron to the BeatlesNo literary form is as admired and feared as poetry. Admired for its lengthy pedigree—a line of poets extending back to a time before recorded history—and a ubiquitous presence in virtually all cultures, poetry is also revered for its great beauty and the powerful emotions it evokes. But the form has also instilled trepidation in its many admirers mainly because of a lack of familiarity and knowledge. Poetry demands more from readers—intellectually, emotionally, and spiritually—than other literary forms. Most of us started out loving poetry because it filled our beloved children’s books from Dr. Seuss to Robert Louis Stevenson. Eventually, our reading shifted to prose, and later when we encountered poetry again, we had no recent experience to make it feel familiar. But reading poetry doesn’t need to be so overwhelming. In an entertaining and engaging voice, Thomas C. Foster shows readers how to overcome their fear of poetry and learn to enjoy it once more. How to Read Poetry Like a Professor examines a wide array of poems and teaches readers:• How to read a poem to understand its primary meaning. • The different technical elements of poetry such as meter, diction, rhyme, line structures, length, order, and regularity, and how to learn to see these elements as allies rather than adversaries. • How to listen for a poem’s secondary meaning by paying attention to the echoes that the language of poetry summons up. • How to hear the music in poems—and the poetry in songs!With How to Read Poetry Like a Professor, readers can rediscover poetry and reap its many rewards.
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Product details
Paperback: 224 pages
Publisher: Harper Perennial; 1 edition (March 27, 2018)
Language: English
ISBN-10: 9780062113788
ISBN-13: 978-0062113788
ASIN: 006211378X
Product Dimensions:
5.3 x 0.5 x 8 inches
Shipping Weight: 5.9 ounces (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
8 customer reviews
Amazon Best Sellers Rank:
#23,896 in Books (See Top 100 in Books)
If you have read the other Foster books on literature and novels, then the set-up and arrangement of this newest title (March 2018) will not surprise you or disrupt the flow of your reading into the ideas presented.Foster provides interesting commentary in the introduction that would be well-suited for the upper level grades as an re-introduction of sorts to poetry and poetic forms. Foster writes, "I think that for most people, however, is the matter isn't so much not liking poetry as feeling somehow overmatched, as if it were a contest and the other side had better equipment and more skill" (3). For the rest of the introduction, Foster presents poetry in its bare-bones form and puts the would-be poetry reader at ease for presenting what both bring to the table by way of text and reader.In "Sounds of Sense" and "Sound Beyond Sense," Foster brings the reader gently back to poetry if the reader is patient with returning to some of that early learning in meter and rhyme and literary devices. For the upper grade reader, these elements of the book may serve well as have the other two books mentioned prior. Early on within this book, however, I note that that Foster is reserved in the examples used and they seem more accessible and familiar and I have to think that this is due in part to the potential fear and trepidation poetry brings along with it.The rest of the book presents like the literature and novels with quippy titles followed by a short chapter which includes a definition of the term, and exploration of the term, and samples from the larger poetry community.As more and more classroom teachers seek out nonfiction text for the classroom, this one would be very nice not only as a primer for poetry but as an informing vehicle for the sounds, techniques, and moves we seek in prose.
As helpful as the "read literature like a professor--for kids" book, but now for poetry!The book is broken down into logical sections. Each section explains the basics (and throws in a few advanced things you can look up on your own) with several examples from well-known poets. It also has some humorous bits that are a bit self-deprecating of the human race and poetry in general.
Although I'm well read, poetry escapes me: I now know why - it's another language! Foster's book has opened my eyes to the grammar of poetry and given me greater understanding. I highly recommend this book
I really learnt a lot by reading this book, no surprise, as Thomas Foster has proved aa good writer. He opens the door to poetry and you become an expert to enjoy the best poets of all times
Senior English class required reading.
The author makes many statements along the lines of "every line has at least one sibilant" (here in reference to "Kubla Khan"). Well now, there's a famous poem about a snowy evening for which the title has three sibilants, the first three words contain sibilants, and every line has at least one sibilant. Indeed, if you split up almost any English text into ten-syllable swatches, the majority, probably the vast majority, will contain at least one sibilant. Take fourteen consecutive such swatches and it is nearly certain that at least one sound type's presence or absence will render this author agog. But it will take a lot more to convince me that a poet has intentionally or even subconsciously engineered anything of the sort.Elsewhere the author misquotes "purple mountain majesties" and concludes that the odd-numbered lines of "America the Beautiful" lack rhyme. In fact the correct quote supplies an eye rhyme for "skies", and the corresponding lines of the other stanzas contain two actual rhymes and another eye rhyme. The fifth line of each stanza is "America, America," and the poet wisely doesn't attempt any rhyme for this; the author will later offer terminology that could be used to assert that we have an internal, identical rhyme here. To make up for this, the seventh line of each stanza (e.g., "And crown thy good with brotherhood") contains an internal rhyme. In short, Foster has a great illustration for points he will make later, but a poor one for the point he is making.He quotes the first four lines of Shakespeare's Sonnet 73 to illustrate meter, and claims that the fourth line, "Bare ruin'd choirs where late the sweet birds sang" is not iambic pentameter at all, in part because it has only nine syllables. Well now. The author is free to make "ruin'd" an exact rhyme of "tuned", and you may even find a dictionary in which the third pronunciation of "ruin" is monosyllabic. More to the point is that Shakespeare routinely lets "ruin" contribute two syllables to a line; for him, such words as "ruinate", "ruination", and Latin "ruina" were entirely familiar, so he would hardly make "ruin" a monosyllable. For someone in Foster's line of work, this should all be second nature. He also claims that "bare" is stressed, but it is hardly more stressed than "birds" later in the line and in any event this sort of thing is routine in Shakespeare's or anyone else's iambs.The author is not one to do your thinking for you and is not likely to drone on throughout a lecture. But he has been thoughtful enough to raise some important questions and at times to give enough of a thoughtful answer so as to raise additional good questions. I'm inclined to think you will enjoy a lot of this book. You may have to supply your own poems, as there are rather few in this book, and even fewer in their entirety.
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