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De/Compositions book cover
De/Compositions
101 Good Poems Gone Wrong
2001
First Published
3.81
Average Rating
285
Number of Pages
This original, illuminating, and sometimes quite funny poetry anthology is primarily concerned with a fundamental and familiar How can we tell good poetry from bad? To illustrate precisely why these 101 poems, many of them well-loved classics, are so accomplished and remarkable, the prize-winning poet, author, critic, and veteran teacher Snodgrass herein rewrites them―wrongly. De/Compositions tellingly presents these rewrites next to the originals―by poets ranging from William Shakespeare to William Stafford―and thus we can more fully appreciate the artistry of these astonishing poems word by word, line by line, stanza by stanza. This book will appeal to anyone studying the craft and/or creativity that good poems demand.
Avg Rating
3.81
Number of Ratings
73
5 STARS
23%
4 STARS
41%
3 STARS
32%
2 STARS
1%
1 STARS
3%
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Author

W.D. Snodgrass
W.D. Snodgrass
Author · 8 books

William De Witt Snodgrass, pseudonym S. S. Gardons, is an American poet and a 1960 Pulitzer Prize for Poetry winner. Snodgrass' first poems appeared in 1951, and throughout the 1950's he published in some of the most prestigious magazines: Botteghe Oscure, Partisan Review, The New Yorker, The Paris Review and The Hudson Review. However, in 1957, five sections from a sequence entitled Heart's Needle were included in Hall, Pack and Simpson's anthology, New Poets of England and America, and these were to mark a turning-point. When Lowell had been shown early versions of these poems, in 1953, he had disliked them, but now he was full of admiration. By the time Heart's Needle was published, in 1959, Snodgrass had already won the The Hudson Review Fellowship in Poetry and an Ingram Merrill Foundation Poetry Prize. However, his first book brought him more: a citation from the Poetry Society of America, a grant from the National Institute of Arts, and, most important of all, 1960's Pulitzer Prize in Poetry. It is often said that Heart's Needle inaugurated confessional verse. Snodgrass disliked the term. Still, it should be pointed out that the genre he was reviving here seemed revolutionary to most of his contemporaries, reared as they had been on the anti-expressionistic principles of the New Critics. Snodgrass' confessional work was to have a profound effect on many of his contemporaries, amongst them, most importantly, Robert Lowell.

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