Tag Archives: poetry

Term of Art: Pathetic Fallacy

“Pathetic Fallacy: The ascribing of human traits and feelings to inanimate objects or nature, or the use of anthropomorphic images or metaphors. Also ANTHROPOPATHISM

John Ruskin coined the name and a later writer, James Thurber, created our favorite example of the pathetic fallacy in a cartoon caption for The New Yorker: ‘It’s a naive domestic Burgundy without any breeding, but I think you’ll be amused at its presumption.’”

William and Mary Morris, Harper Dictionary of Contemporary Usage

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Rotten Reviews: Lycidas

“The diction is harsh, the rhymes uncertain, and the numbers unpleasing…Its form is that of a pastoral–easy, vulgar and therefore disgusting.”

Samuel Johnson, Lives of the English Poets 1779

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Everyday Edit: Phyllis Wheatley

Here’s an Everyday Edit on poet Phyllis Wheatley.

If your students like Everyday Edit worksheets, please remember that the good people at Education World give away a year’s supply of them.

Elizabeth Bishop

(1911-1979) American poet. Bishop’s first book of poems was North and South (1946). In 1955 she reissued that book with A Cold Spring; the double volume was awarded the 1956 Pulitizer Prize for poetry. Bishop had close friendships with Marianne Moore and Robert Lowell; her work shares precision with the former and personal warmth with the latter. Her poems are written in a modern idiom with great stylistic subtlety. While she knew many of the confessional poets, she wrote about her own life with irony, humor, and detachment. Her Complete Poems (1969) won the National Book Award in 1970. Geography III (1977), a ten-poem picture of her life, seen through places she remembers, is meditative, but vivid, spare almost to the point of austerity. Bishop was an avid traveler, living in many parts of the world, including Brazil, where she lived with Lota de Macedo Soares for almost two decades. Bishop returned to the U.S. after Soares’ suicide. The end of Bishop’s life was darkened by ill health and alcoholism, which had long plagued her. Bishop was considered by many a “poet’s poet,” but her deceptively simple style carries with it an undercurrent of tenderness that also touches less-sophisticated readers. Bishop also wrote a number of travel books, including Questions of Travel (1965) and Brazil (1967). One Art: Selected Letters (1993) is a large selection of an ever more voluminous and interesting correspondence.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Everyday Edit: Gwendolyn Brooks

Moving right along with Women’s History Month 2019, here is an Everyday Edit worksheet on Gwendolyn Brooks (and if you like this, the good folks at Education World will give you a yearlong supply of them).

Also, here is a PDF of Ms. Brooks’ linguistically elegant poem “We Real Cool.”

Maya Angelou as Dramaturge

“Blacks should be used to play whites. For centuries, we had probed their faces, the angles of their bodies, the sounds of their voices, and even their odors. Often our survival had depended on the accurate reading of a white man’s chuckle, or the disdainful wave of a white woman’s hand.”

Maya Angelou

The Heart of a Woman, ch. 12 (1981)

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Phillis Wheatley

Although I’d been aware of her since high school, I wasn’t aware of the indignities she endured as the first African-American writer to publish in North America. This reading on early African-American poet Phillis Wheatley (with its accompanying vocabulary building and comprehension worksheet) does a nice job of exposing that particular disgrace on the part of white Boston elites.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Imamu Amiri Baraka

Formerly Leroi Jones, 1934-2014). American poet and playwright. Dutchman, a taut one-act play, part realistic, part ritualistic, crystalizing the conflicts between white and black cultures, established Baraka as an important force in stimulating black playwriting and production. Slave Ship (1967), relies on music and action as much as language to unfold its haunting story. Baraka’s theater is aggressive and provocative, yet lyrical in its theatrical effect. His prolific output of essays and poetry includes Preface to a Twenty Volume Suicide Note (1961) The Dead Lecturer (1964), Black Magic (1969) and Hard Facts (1976); his work is collected in Selected Plays and Prose and Selected Poetry (both 1979). Two other works appeared in 1979: a collection of poetry AM/TRAK and Spring Song. Reggae or Not, prose writings, appeared in 1981. Baraka’s later works have become increasingly polemical and separatist, causing many white liberals to desert him. He also published The Music: Reflections on Jazz and Blues (1987), Shy’s Wise: The Griot’s Tale (1994), and Jesse Jackson and Black People (1994).”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Paul Laurence Dunbar on the Mask

“We wear the masks that grins and lies,
It hides our cheeks and shades our eyes,–
This debt we pay to human guile…

But let the world dream otherwise,
We wear the mask!”

Paul Laurence Dunbar

“We Wear the Mask” 1. I, 14 (1895)

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

for colored girls who have considered suicide when the rainbow is not enough

A play (1974) by the US writer Ntozake Shange (b. 1948) consisting of 20 ‘choreopoems’ about the experience of African-American women in modern Western society. One of the longest running shows in Broadway history, the play’s extraordinary title, with its unconventional spellings and rejection of accepted grammatical rules, was intended by the author to represent the independence of African-American culture from Western influence. The mutilation of words throughout the title and text are reportedly meant to remind the reader of the mutilation of African slaves through branding and other punishments.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.