Dickinson's Nerves, Frost's Woods : : Poetry in the Shadow of the Past / / William Logan.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press Complete eBook-Package 2018
• VerfasserIn: Logan, William,
• Place / Publishing House: New York, NY : : Columbia University Press, , [2018]; ©2018
• Year of Publication: 2018
• Language: English
• Physical Description: 1 online resource :; 21 images
• Other title: Frontmatter --; Contents --; List of Illustrations --; Acknowledgments --; Notes Toward an Introduction --; 1. Shelley's Wrinkled Lip, Smith's Gigantic Leg --; 2. Frost's Horse, Wilbur's Ride --; 3. Lowell's Skunk, Heaney's Skunk --; 4. Longfellow's Hiawatha, Carroll's Hiawatha: The Name and Nature of Parody --; 5. Keats's Chapman's Homer, Justice's Henry James --; 6. Shakespeare's Rotten Weeds, Shakespeare's Deep Trenches --; 7. Pound's Métro, Williams's Wheelbarrow --; 8. Dickinson's Nerves, Frost's Woods --; Permissions --; Notes --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780231546515; 9783110606607; 9783110604252; 9783110603255; 9783110604184; 9783110603187
• DOI: 10.7312/loga18614
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: William Logan.

In Dickinson's Nerves, Frost's Woods, William Logan, the noted and often controversial critic of contemporary poetry, returns to some of the greatest poems in English literature. He reveals what we may not have seen before and what his critical eye can do with what he loves. In essays that pair different poems-"Ozymandias," "On First Looking Into Chapman's Homer," "In a Station of the Metro," "The Red Wheelbarrow," "After great pain, a formal feeling comes," and "Stopping by Woods on a Snowy Evening," among others-Logan reconciles history and poetry to provide new ways of reading poets ranging from Shakespeare and Shelley to Lowell and Heaney.In these striking essays, Logan presents the poetry of the past through the lens of the past, attempting to bring poems back to the world in which they were made. Logan's criticism is informed by the material culture of that world, whether postal deliveries in Regency London, the Métro lighting in 1911 Paris, or the wheelbarrows used in 1923. Deeper knowledge of the poet's daily existence lets us read old poems afresh, providing a new way of understanding poems now encrusted with commentary. Logan shows that criticism cannot just root blindly among the words of the poem but must live partly in a lost world, in the shadow of the poet's life and the shadow of the age.