Abstract
I want to start by quoting the opening passage of a recent book by Edward Hirsch, author of six collections of poetry and recipient of numerous prestigious awards including The National Book Critics Circle Award and a MacArthur Fellowship. The book is titled How to Read a Poem and Fall in Love with Poetry, and its first chapter begins:
Read these poems to yourself in the middle of the night. Turn on a single lamp and read them while you’re alone in an otherwise dark room or while someone else sleeps next to you … Say them over to yourself in a place where silence reigns and the din of the culture—the constant buzzing noise that surrounds us—has momentarily stopped. These poems have come from a great distance to find you.1
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Notes
Edward Hirsch, How to Read a Poem and Fall in Love with Poetry (New York: Harcourt Brace and Company, 1999), 1. Subsequent citations appear parenthetically in the text. The sentence elided reads, “Read them when you’re wide awake in the early morning, fully alert.” I omitted it because it does not emphasize separation from society and work-a-day life to the extent the other sentences do, yet here, too, the experience of reading remains one of solitary attention to the text.
Sylvia Plath, Ariel (New York: Harper & Row, 1966), 49–51.
Elizabeth Bishop, Geography III (New York: Farrar, Straus and Giroux, 1976), 40–41.
Ron Silliman, Tjanting, “Introduction” by Barrett Watten (Berkeley: The Figures, 1981).
Joan Retallack, AFTERRIMAGES (Hanover: Wesleyan University Press, 1995), 36. Subsequent citations appear parenthetically in the text.
Ovid, Metamorphoses I, Books I—VIII, trans. Frank Justus Miller (1916; Cambridge, MA: Harvard University Press, 1971).
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© 2006 Joan Retallack and Juliana Spahr
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Keller, L. (2006). FFFFFalling with Poetry: The Centrifugal Classroom. In: Retallack, J., Spahr, J. (eds) Poetry & Pedagogy. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-11449-5_3
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DOI: https://doi.org/10.1007/978-1-137-11449-5_3
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