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On The Dolphin Letters, – Elizabeth Hardwick, Robert Lowell, and Their Circle, edited by Saskia Hamilton.​ The editors discuss Christian Wiman’s poem “All My Friends Are Finding New Beliefs” from the January issue of Poetry.​ Sign up for the Poetry magazine and Poetry.
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• 2018 NCTE Notable Poetry Books
• Most Popular Stories
• Poetry Magazine | Poetry Foundation
• Poetry Out Loud

I started writing poetry out of a sense of needing to speak not only for me but all Native American women.

A lot of images [of Native Americans] are based on fairy tales or Wild West shows. In fact, we go by our tribal names, and there are tribal nations. I keep journals: one on the computer, one for dreams, one for general observations and overheard things, and one for learning jazz standards, so I look up the history of the song, then I rehearse it and make notes. When the airwaves are clear, either really early—like 6 a.

You can train your ears to history. You can train your ears to the earth. You can train your ears to the wind. A lot of poets can be semihistorians. Poetry is very mathematical. Quantum physicists remind me of mystics. They are aware of what happens in timelessness, though they speak of it through theories and equations. It came directly out of standing and looking out into the woods of what had been our homelands in the Southeast before Andrew Jackson removed us to Indian territory.

I can remind people that they use poetry, go to poetry, frequently, and may not even know they are. A lot of song lyrics are poetry. They go to poetry for a transformational moment, to speak when there are no words to speak. As a singer and saxophonist in the Arrow Dynamics Band, do you plan to incorporate music in the role? Seuss realize, the anapest is perfect for a light-hearted, comic feel. There is debate over how useful a multiplicity of different "feet" is in describing meter.

For example, Robert Pinsky has argued that while dactyls are important in classical verse, English dactylic verse uses dactyls very irregularly and can be better described based on patterns of iambs and anapests, feet which he considers natural to the language.

Vladimir Nabokov noted that overlaid on top of the regular pattern of stressed and unstressed syllables in a line of verse was a separate pattern of accents resulting from the natural pitch of the spoken words, and suggested that the term "scud" be used to distinguish an unaccented stress from an accented stress. Different traditions and genres of poetry tend to use different meters, ranging from the Shakespearian iambic pentameter and the Homerian dactylic hexameter to the Anapestic tetrameter used in many nursery rhymes.

However, a number of variations to the established meter are common, both to provide emphasis or attention to a given foot or line and to avoid boring repetition. For example, the stress in a foot may be inverted, a caesura or pause may be added sometimes in place of a foot or stress , or the final foot in a line may be given a feminine ending to soften it or be replaced by a spondee to emphasize it and create a hard stop. Some patterns such as iambic pentameter tend to be fairly regular, while other patterns, such as dactylic hexameter, tend to be highly irregular.

Regularity can vary between language. In addition, different patterns often develop distinctively in different languages, so that, for example, iambic tetrameter in Russian will generally reflect a regularity in the use of accents to reinforce the meter, which does not occur or occurs to a much lesser extent in English.

2018 NCTE Notable Poetry Books

Rhyme , alliteration, assonance and consonance are ways of creating repetitive patterns of sound. They may be used as an independent structural element in a poem, to reinforce rhythmic patterns, or as an ornamental element. Rhyme consists of identical "hard-rhyme" or similar "soft-rhyme" sounds placed at the ends of lines or at predictable locations within lines "internal rhyme". The richness results from word endings that follow regular forms.

English, with its irregular word endings adopted from other languages, is less rich in rhyme. Alliteration and assonance played a key role in structuring early Germanic, Norse and Old English forms of poetry. The alliterative patterns of early Germanic poetry interweave meter and alliteration as a key part of their structure, so that the metrical pattern determines when the listener expects instances of alliteration to occur.

This can be compared to an ornamental use of alliteration in most Modern European poetry, where alliterative patterns are not formal or carried through full stanzas. Assonance, where the use of similar vowel sounds within a word rather than similar sounds at the beginning or end of a word, was widely used in skaldic poetry, but goes back to the Homeric epic.

Because verbs carry much of the pitch in the English language , assonance can loosely evoke the tonal elements of Chinese poetry and so is useful in translating Chinese poetry.

Most Popular Stories

Consonance occurs where a consonant sound is repeated throughout a sentence without putting the sound only at the front of a word. Consonance provokes a more subtle effect than alliteration and so is less useful as a structural element. In many languages, including modern European languages and Arabic, poets use rhyme in set patterns as a structural element for specific poet forms, such as ballads , sonnets and rhyming couplets. However, the use of structural rhyme is not universal even within the European tradition.

Much modern poetry avoids traditional rhyme schemes. Classical Greek and Latin poetry did not use rhyme. Some rhyming schemes have become associated with a specific language, culture or period, while other rhyming schemes have achieved use across languages, cultures or time periods. Some forms of poetry carry a consistent and well-defined rhyming scheme, such as the chant royal or the rubaiyat, while other poetic forms have variable rhyme schemes. Most rhyme schemes are described using letters that correspond to sets of rhymes, so if the first, second and fourth lines of a quatrain rhyme with each other and the third line does not rhyme, the quatrain is said to have an "a-a-b-a" rhyme scheme.

This rhyme scheme is the one used, for example, in the rubaiyat form. The types and use of differing rhyming schemes is discussed further in the main article. The terza rima provides a flowing, progressive sense to the poem, and used skillfully it can evoke a sense of motion, both forward and backward. Terza rima is appropriately used in lengthy poems in languages with rich rhyming schemes such as Italian, with its many common word endings. Poetic form is very much more flexible nowadays than ever before.

Many modern poets eschew recognizable structures or forms, and write in 'free verse'. But poetry remains distinguished from prose by its form and some regard for basic formal structures of poetry will be found in even the best free verse, howevermuch it may appear to have been ignored. Similarly, in the best poetry written in the classical style there will be departures from strict form for emphasis or effect.

Among the major structural elements often used in poetry are the line, the stanza or verse paragraph, and larger combinations of stanzas or lines such as cantos.

The broader visual presentation of words and calligraphy can also be utilized. These basic units of poetic form are often combined into larger structures, called poetic forms or poetic modes see following section , such as in the sonnet or haiku. Poetry is often separated into lines on a page. These lines may be based on the number of metrical feet, or may emphasize a rhyming pattern at the ends of lines. Lines may serve other functions, particularly where the poem is not written in a formal metrical pattern.

Lines can separate, compare or contrast thoughts expressed in different units, or can highlight a change in tone. Lines of poems are often organized into stanzas, which are denominated by the number of lines included. Thus a collection of two lines is a couplet or distich , three lines a triplet or tercet , four lines a quatrain, five lines a quintain or cinquain , six lines a sestet, and eight lines an octet. These lines may or may not relate to each other by rhyme or rhythm. For example, a couplet may be two lines with identical meters which rhyme or two lines held together by a common meter alone.

Stanzas often have related couplets or triplets within them.

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Other poems may be organized into verse paragraphs, in which regular rhymes with established rhythms are not used, but the poetic tone is instead established by a collection of rhythms, alliterations, and rhymes established in paragraph form. Many medieval poems were written in verse paragraphs, even where regular rhymes and rhythms were used. In many forms of poetry, stanzas are interlocking, so that the rhyming scheme or other structural elements of one stanza determine those of succeeding stanzas.

Examples of such interlocking stanzas include, for example, the ghazal and the villanelle , where a refrain or, in the case of the villanelle, refrains is established in the first stanza which then repeats in subsequent stanzas. Related to the use of interlocking stanzas is their use to separate thematic parts of a poem. For example, the strophe, antistrophe and epode of the ode form are often separated into one or more stanzas. In such cases, or where structures are meant to be highly formal, a stanza will usually form a complete thought, consisting of full sentences and cohesive thoughts.