Download Can Poetry Save the Earth?: A Field Guide to Nature Poems by John Felstiner PDF
By John Felstiner
Poems vivifying nature have gripped humans for hundreds of years. From Biblical times to the cutting-edge, poetry has always drawn us to the flora and fauna. during this thought-provoking e-book, John Felstiner explores the wealthy legacy of poems that take nature as their topic, and he demonstrates their strength and sweetness. In our personal time of environmental crises, he contends, poetry has a special capability to revive our realization to our surroundings in its imperiled kingdom. And, as we take heed, we might develop into greater stewards of the earth.In 40 short and lucid chapters, Felstiner offers these voices that experience so much strongly spoken to and for the wildlife. Poets—from the Romantics via Whitman and Dickinson to Elizabeth Bishop and Gary Snyder—have helped us envision such information as ocean winds eroding and rebuilding dunes within the related breath, wild deer freezing in our presence, and somebody carving initials on a still-living stranded whale.Sixty colour and black-and-white photographs, many obvious for the 1st time, bearout visually the environmental mind's eye this ebook discovers—a poeticlegacy extra important now than ever. (20090817)
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Additional info for Can Poetry Save the Earth?: A Field Guide to Nature Poems
Plate 3) “Western Wind,” sixteenth-century manuscript. The British Library Board. All rights reserved, A601. 28 Elemental as it is, “Western Wind” opens a way to endure time and circumstance, aloneness and longing, or at least to give them shape, grasp them in rhythmic form, which is poetry’s perennial job. Come at it sharp-eared, clear-eyed, deep-minded, and this late medieval fountainhead of the English lyric tradition shows humankind conversing with the physical world. Such verse, brief as the greeting on an answering machine, has a great deal going on: rhythm and meter, sound, rhyme, diction, voice, grammar, metaphor, structure.
We afterwards moved away a space, and saw nearly the whole more mild, streaming silverly through the trees. What astonishes me more than any thing is the tone, the coloring, the slate, the stone, the moss, the rock-weed; or, if I may so say, the intellect, the countenance of such places. The space, the magnitude of mountains and waterfalls are well imagined before one sees them; but this countenance or intellectual tone must surpass every imagination and defy any remembrance. I shall learn poetry here.
Fans . . ” Keats himself is “affected . . ” So it is with the falls’ “thunder and the freshness” at Ambleside. Seeking the shape of his vision, Keats finds a darting arrow, a spreading fan. ” Curiously enough, his words from the Lake Country might be unknown today had they not been published in Kentucky, then a frontier region. During his walking tour, he would ask Tom to forward letters to their brother George, who’d just emigrated to America. ” When Tom perished of consumption in late 1818, Keats’s exposure had already damaged him, and the poetry shows this.