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The Poetry Witch Little Book of Spells

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Finch's dedication to writing in meter and her role as a scholar, editor, and critic of poetic form led some reviewers of her first books to classify her poetry within the movement known as New Formalism. Dictionary of Literary Biography named her "one of the central figures in contemporary American poetry" for her role in the reclamation of poetic form. [12] But reviewers soon noticed key differences between Finch's poetry and that of other new formalist poets. Henry Taylor, for example, claimed that Finch was not a typical new formalist because she did not focus on the realities of contemporary life, [13] and C.L. Rawlins emphasized the incantatory use of form in Eve, writing, "Finch is a poet in her bones . . . . What she proves in Eve is that rhyme-and-meter isn't just a formerly fashionable sort of bondage, but a bioacoustic key to memory and emotion." [14] Cindy Williams Gutierrez made a similar point in a review of a later book: “Finch is more shaman than formalist. She is keenly aware of the shape and sound of her poems. Whether in a chant, sonnet, ghazal, or even Billy Collins’ contrived paradelle, her skill is effortless: Form is merely the skin that allows her poems to breathe with ease.” [15] Poetry Witch Community, centered around Meter Magic Spiral, brings together women-identified & gender-nonconforming poets, poetry lovers, and spiritual seekers from around the world to practice poetry, scansion, and magic, weave webs of connection and empowerment, and explore the rhythmic languages of poetry and life so we can learn to craft our lives and words in more joyfully powerful ways. . . —Annie Finch (she/e/they) Composers who have set Finch's poems to music include Stefania de Kennessey, Matthew Harris, and Dale Trumbore. Trumbore's settings of the poems have won the Yale Glee Club Emerging Composers Award, the Gregg Smith Choral Composition Contest, and other awards. [33] [34] [35] [36] Finch was invited by composer Deborah Drattell to write the libretto for the opera Marina, based on the life of poet Marina Tsvetaeva. it was produced by American Opera Projects in 2003, directed by Anne Bogart, and sung by Lauren Flanigan. [37] Prosody and literary criticism [ edit ] Finch's feminism is also evident in her prose writing, editing, and literary organizing. Her first anthology A Formal Feeling Comes: Poems in Form by Contemporary Women (1993) collected poems and essays by contemporary women poets. The "metrical code," the central theory of her book of literary criticism The Ghost of Meter (1994), is cited in the article on "feminist poetics" by Elaine Showalter in the Princeton Encyclopedia of Poetry and Poetics. [20] [21] [22] Her essay collection The Body of Poetry: Essays on Women, Form, and the Poetic Self (2005) includes writings on women poets including Elizabeth Barrett Browning, Carolyn Kizer, Maxine Kumin, Audre Lorde, Lydia Sigourney, Sara Teasdale, and Phillis Wheatley, many based in feminist theory. In 1997, Finch founded the international listserv Discussion of Women Poets ( Wom-Po). She facilitated the listserv until 2004 when she passed ownership of the list to Amy King.

It seems rather feminist to me, at least more so than the witches I grew up with on television. “Updike wrote his witches as quite ambiguous figures, partly inspiring and partly villainous,” says professor Gibson. “But the 1987 film of the book presented them as much more glamorous, empowering women, part of a trend of young, sexy witches which continued throughout the 90s.”

I felt drawn to them because I felt that they hadn’t quite been done justice in literature before. They have been ‘covered’, but somehow it didn’t seem angry enough. When Miller wrote The Crucible (1953), that was angry. But I felt there was nothing said about the Pendle Witches in the UK that was comparable.’– Camille Ralphs in conversation with Shoshana Kessler for the London Magazine for investigation for intersection for fence for phallus for trunk for the thing the thing the thing one solar An engagingly inventive pamphlet bringing the Pendle story to life through innovative language, which dazzles and enthrals. Poems attuned at once to the rhythms and limits of language. ‘ – Judges for the 2016 Michael Marks Awards and travelling ink and passports that go anywhere and have a long series of numbers printed on them Sarasvati Award for Poetry from the Association for the Study of Women and Mythology, for Among the Goddesses

Showalter, Elaine. "Feminist Poetics." In Alex Preminger et al., eds. Princeton Encyclopedia of Poetry and Poetics (Princeton U. Press, 1993) p. 406 A Poet's Craft: A Comprehensive Guide to Making and Shaping Your Poems. Ann Arbor: University of Michigan Press, 2012. Calendars(2003), Among the Goddesses(2010), Spells: New and Selected Poems(2013), Choice Words: Writers on Abortion(2020)

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Poetry Witch is a private international online community offered free of charge to all women and gender nonconforming people who love magic and/or poetry. Community members have access to our beautiful Five Directions discussion area and are eligible to join our central learning space, Meter Magic Spiral, where our founder Annie Finch guides a transformative journey through the powers of a different poetic meter each month. After New Formalism: Poets on Form, Narrative, and Tradition. Brownsville, OR: Story Line Press, 1999. Finch, Henry Leroy, Henry Leroy Finch Papers, Swarthmore College Peace Collection, Swarthmore College

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