"Any serious poet or lover of poetry will welcome this anthology,
which shows the rich diversity of perspectives in which women poets
expand and contest the current state of the art."--Ira Sadoff, Dana
Professor of Poetry, Colby College
"Any serious poet or lover of poetry will welcome this anthology,
which shows the rich diversity of perspectives in which women poets
expand and contest the current state of the art."--Ira Sadoff, Dana
Professor of Poetry, Colby College
"Just as Sappho helped defined the genre when it debuted it ancient
Greece as a brief, personal song accompanied by the lyre, so the
poets selected here-among them Rae Aramatrout, Mei-Mei
Berssenbrugge, Jorie Graham, Barbara Guest, Susan Howe, and
Harryette Mullen-force us to redefine lyric poetry. In particular,
their use of modernist techniques such as fragmentation,
disjunction, parataxis, and run-ons and their rejection of
confessional techniques and the personal singular voice allow these
poets to create a new structure. Many of the resulting images are
startling and unique. . ."--Nedra C. Evers, Library Journal
"American Women Poets in the 21st Century helps to reframe the
debate about experiment versus tradition in women's contemporary
poetry. . . [and] reveals how very distinctive are 21st century
American women poets."--Laura Hinton, How2
"A provocative read for those interested in contemporary poetry . .
."--B. Wallenstein, Choice
"Just as Sappho helped defined the genre when it debuted it ancient
Greece as a brief, personal song accompanied by the lyre, so the
poets selected here-among them Rae Aramatrout, Mei-Mei
Berssenbrugge, Jorie Graham, Barbara Guest, Susan Howe, and
Harryette Mullen-force us to redefine lyric poetry. In particular,
their use of modernist techniques such as fragmentation,
disjunction, parataxis, and run-ons and their rejection of
confessional techniques and the personal singular voice allow these
poets to create a new structure. Many of the resulting images are
startling and unique. . ."--Nedra C. Evers, Library Journal
". . . an ideal teaching anthology for an upper-level course on
contemporary women poets, or for that "general reader" interested
in this particular site of poetic activity . . . Spahr's
introduction is necessary reading."--Linda Russo, Jacket
"Any serious poet or lover of poetry will welcome this anthology,
which shows the rich diversity of perspectives in which women poets
expand and contest the current state of the art."--Ira Sadoff, Dana
Professor of Poetry, Colby College
"Any serious poet or lover of poetry will welcome this anthology,
which shows the rich diversity of perspectives in which women poets
expand and contest the current state of the art."--Ira Sadoff, Dana
Professor of Poetry, Colby College
"Just as Sappho helped defined the genre when it debuted it ancient
Greece as a brief, personal song accompanied by the lyre, so the
poets selected here-among them Rae Aramatrout, Mei-Mei
Berssenbrugge, Jorie Graham, Barbara Guest, Susan Howe, and
Harryette Mullen-force us to redefine lyric poetry. In particular,
their use of modernist techniques such as fragmentation,
disjunction, parataxis, and run-ons and their rejection of
confessional techniques and the personal singular voice allow these
poets to create a new structure. Many of the resulting images are
startling and unique. . ."--Nedra C. Evers, Library
Journal
"American Women Poets in the 21st Century helps to reframe the
debate about experiment versus tradition in women's contemporary
poetry. . . [and] reveals how very distinctive are 21st century
American women poets."--Laura Hinton, How2
"A provocative read for those interested in contemporary poetry . .
."--B. Wallenstein, Choice
"Just as Sappho helped defined the genre when it debuted it ancient
Greece as a brief, personal song accompanied by the lyre, so the
poets selected here-among them Rae Aramatrout, Mei-Mei
Berssenbrugge, Jorie Graham, Barbara Guest, Susan Howe, and
Harryette Mullen-force us to redefine lyric poetry. In particular,
their use of modernist techniques such as fragmentation,
disjunction, parataxis, and run-ons and their rejection of
confessional techniques and the personal singular voice allow these
poets to create a new structure. Many of the resulting images are
startling and unique. . ."--Nedra C. Evers, Library
Journal
". . . an ideal teaching anthology for an upper-level course on
contemporary women poets, or for that "general reader" interested
in this particular site of poetic activity . . . Spahr's
introduction is necessary reading."--Linda Russo, Jacket
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