By Henry Lyman
Robert Frost has lengthy ruled the public's snapshot of latest England poetry, yet who're the poets who keep on with him in time and the way have they expressed their visions of the panorama, the person, and the neighborhood? This quantity brings jointly the paintings of thirty unusual poets to express the energy and diversity of the region's poetic construction in the course of a lot of the 20 th century.
After Frost is released in organization with the recent England origin for the arts, which has backed a application of interpreting and chat groups with poets around the area utilizing this anthology.
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Additional resources for After Frost: an anthology of poetry from New England
Yet the entire prolonged sentence of seven lines is a single integrated sound-shape, as skillfully put together as the abandoned wood-pile the speaker has come upon and will soon leave behind. His first thought under pressure was a grave In a new-boughten grave plot by herself, Under he didn't care how great a stone: He'd sell a yoke of steers to pay for it. (Place for a Third) This shorter passage, equally composed, is full of colloquialism, almost comically juggled about. The juggling of syntax follows the actual sequence of events passing through the mind of a farmer contemplating (not so comically) a grave for his still-living wife.
Bang goes something big away Off there upstairs. (In the Home Stretch) And then from "Stopping by Woods on a Snowy Evening" there is the famous opening Whose woods these are I think I know. " There is far more to it of course than that ghostlike hollowness of repeated o's, the juggling of syntax, or the juxtaposition of New England speech and traditional meter; and in the end the artistry or luck involved is difficult if not impossible to define. It may have something to do with the formation in the mind's eye of a fundamental sound-picture, a mental picture imbued with a sense of sound, and with contemplating that "vocal image" until nouns, verbs, and whole phrases come to mind that seem to harmonize with it visually and audibly.
Frost tried to deal with it by espousing an old-time rugged individualism endorsed by his reading of Emerson and Thoreau, among others, and personified, to a degree, in the farmers and mill-workers portrayed in his dramatic and narrative poems. Independent and hard-working, though generally either poor or simply getting by, these characters reflect in part the stoic, tight-lipped son of the soil that has become a New England archetype. None of them, however, not even the stubbornly male husband in "The Death of the Hired Man" or his counterpart in "Home Burial," is as self-contained and self-assured as one might expect.