Poetry Reading and Talk: Reference Works
February 4, 2014 — 6:15 p.m.
The Schapiro Center, Davis Auditorium
New York, New York
Poets talk about the scholarly resources that inspire them, including poetry anthologies, rhyming dictionaries, standard dictionaries, handbooks of poetic forms, and other resources, such as the Princeton Encyclopedia of Poetry and Poetics (the latest edition of which was published in 2013).
• Nada Gordon, Instructor of English at Pratt Institute• Dorothea Lasky, Assistant Professor in the School of the Arts at Columbia University
• Tan Lin, Associate Professor of Creative Writing at New Jersey City University
• Bob Perelman, Professor of English at University of Pennsylvania;
• Rowan Ricardo Phillips, Associate Professor of English at State University of New York Stony Brook.
Co-sponsored by the Heyman Center for the Humanities, the Columbia University Department of English and Comparative Literature, and The Koch-Dupee Poetry of the American Avant-Garde Reading Series
Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition–the first new edition in almost twenty years–reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes.
Perhaps this is why Public Books chose to put together a virtual roundtable for the book. As their website says:
“First published in 1965, the Princeton Encyclopedia of Poetry and Poetics is a reference volume for poetry enthusiasts and literary scholars alike. Last year, a significantly revised fourth edition appeared, covering 110 nations, regions, and languages, and with 250 new entries on subjects ranging from “boustrophedon” (bidirectional texts) to “hip-hop poetry” and “anthem, national.” Public Books asked poets to respond in verse and prose to individual entries.
A Celebration of Poetry in the Past 20 Years by Princeton University Press intern, Oliver Newman
The cloning of Dolly the sheep, 9/11, the introduction of the Euro, the election of the first black American president, the birth of Justin Bieber… A lot has happened in the 20 years since the last edition of The Princeton Encyclopaedia of Poetry and Poetics was published. What, though, has happened in the world of contemporary poetry (not including Justin Bieber’s rise to fame)?
T.S. Eliot once declared that, at its best, contemporary poetry ‘can give us a feeling of excitement and a sense of fulfilment different from any sentiment aroused even by very much greater poetry of a past age.’ Here, Eliot is implying that contemporary poetry can evoke powerful emotional reactions borne from its immediate relevance to, and subsequent reflection of, the age in which we live. Adopting this philosophy, poetry’s development during the last 20 years should reflect the development of modern society. This is immediately apparent with the rise of electronic poetry, which resembles our age through its inherent reliance upon modern technological advances and almost unlimited, instantaneous networking via the internet. However, the correlation between contemporary poetry and the present age is perhaps most interesting when examining the medium’s development as a social spectacle, and poetry is rarely more spectacular than when being “slammed” from one opponent to another.
Poetry slamming first appeared in 1984, and has generated heated reactions from poets and academics alike. Unlike electronic poetry, which leaves original material unaltered, poetry slamming is predominantly reliant upon impermanent, sensual reactions that manifest out of the spectacle surrounding the original material, lending it to comparisons with some of the most popular forms of entertainment available today. ‘Seeing poetry slams often reminds me of watching American Idol. You’ve got a series of judges, an audience that comes in looking for a certain shtick that they want to see and that’s what they’re going to cheer for’, stated University of South Carolina Professor Kip Fulbeck in an interview with the Santa Barbara Independent. Whether the audience is ‘looking for a certain kind of shtick’ is subjective, but poetry slamming’s resemblance to shows such as American Idol and X-Factor is certainly evident. Indeed, it follows the same basic formula – three minute rounds, multiple opponents who are graded respectively by a panel of judges, and a general emphasis upon personality and performance.
While academics such as Harold Bloom, who has labelled poetry slamming ‘the death of art’, denounce the form for its reliance upon exhibitionism and competition, it could be argued that these very features elevate the medium to an altogether new art form, one that ironically reflects our age in a way that ordinary poetry could never do. By consciously emphasising performance over artistry, purveyors of the form are unconsciously parodying the age’s fascination with spectacle over original material, a fascination displayed through the overwhelming popularity of shows such as X-Factor (the 2011 final of which garnered a viewing audience of just over 15 million people).
Whether or not these resemblances give the reader a feeling of excitement and a sense of fulfilment equal to poetry of a past age, or whether it simply distorts the artistry of the original material is just one of the many themes explored in the new edition of The Princeton Encyclopaedia of Poetry and Poetics. In fact this fourth edition, revised and updated for the twenty-first century, offers more than 250 new entries and covers all aspects of poetry from its history, movements and genres, to its rhetorical devices, critical terms and more, making it the most comprehensive and definitive edition yet.
Happy National Poetry Day!
As summer moves (perhaps too swiftly) from July to August, and soon enough to September, we are celebrating our new array of excellent advanced textbooks, titles crucial to research and teaching in the academy. A scholar once characterized an outstanding text as a book that brings “point, verve, and a sense of general acceptance” to the field which it defines—a worthy objective, among others, of a scholarly publisher such as Princeton University Press. (Please don’t ask me to identify the source; I came across this quote about 30 years ago).
Textbooks of a scholarly stripe have long held a proud place on Princeton’s list, dating back many decades, and have complemented our monographs and more general interest titles in serving up robust accounts of the fields in which we publish. This year is no exception, featuring as it does the impressive cluster of advanced texts we’ve published since last fall. In fact, this is arguably the best set of new texts we have published in years. And this bumper crop of texts is unusual in that spans most of the fields in which we publish, not just one or two. As we approach some of the big annual academic meetings, and with fall semester only a month away, it’s worth our reviewing some of these outstanding offerings.
Most notable in this year’s crop are the new science texts. The earliest of our new science texts appeared last August in the form of Wally Broecker and Charles Langmuir’s new edition of the classic work, How to Build a Habitable Planet. Habitable Planet was quickly followed by Biophysics: Searching for Principles by William Bialek, and an innovative new book on the physics of sound and music, Why You Hear What You Hear by Harvard’s Eric Heller. Our science offerings concluded this past spring with Einstein Gravity in a Nutshell by Anthony Zee, author of the modern classic Quantum Field Theory in a Nutshell, now in its second edition, and Climate Dynamics, an exciting new book by Texas-based scholar Kerry Cook. Rounding out the spring flock of science texts are the second edition of Steven Vogel’s Comparative Biomechanics, and Whitney Cranshaw and Richard Redak’s exciting Bugs Rule! An Introduction to the World of Insects. Collectively, these texts are helping to turn a new page in PUP’s science publishing.
While launching the new science texts, we added handsomely to our world-leading list of economics texts with new offerings by two of our most successful and celebrated textbook authors: Stanford’s David Kreps, whose 1990 book, A Course in Microeconomic Theory, marked the rise of the modern PUP economics list, is back with his new text, Microeconomic Foundations I: Choice and Competitive Markets, while MIT’s Robert Gibbons, author of the widely admired 1992 book, Game Theory for Applied Economists, joined Stanford’s John Roberts in editing the path-breaking Handbook of Organizational Economics. In addition, we published Berkeley economist Steven Tadelis’s long-awaited Game Theory: An Introduction, and an important edited volume by Princeton psychologist Eldar Shafir, Behavioral Foundations of Public Policy. Shafir’s volume touched a nerve at The New York Times when columnist David Brooks used it as the basis for a January 2013 column. These books and more will be on display later this month at the European economics meetings in Sweden.
The list of 2012-13 textbooks extends from science and economics into various other regions of the social sciences. We began the academic year with Phillip Bonacich and Philip Liu’s Introduction to Mathematical Sociology, and finished the year on an equally quantitative note with Moore and Siegel’s new book, A Mathematical Course for Political and Social Research, two titles we will feature prominently at this month’s meetings of the American Political Science Association and the American Sociological Association. In anthropology we added two new teaching titles in Ethnography and Virtual Worlds by Tom Boellstorff and his colleagues, and Nikolas Rose and Joelle Abi-Rachid’s Neuro: The New Brain Sciences and the Management of the Mind.
Returning to the earliest months of the past academic year, it’s worth recalling that we published the fourth edition of the famed Princeton Encyclopedia of Poetry and Poetics in a low-priced paperback edition, thereby making it course adoption-ready in seminars on poetics and advanced classes on poetry.
For more on these and other textbooks, please check out Princeton Pretexts where we will be posting additional information about these titles over the coming weeks or our dedicated textbooks web site.
Director of Princeton University Press
National Poetry Month is held every April with the help of schools, publishers, libraries, booksellers, writers, and poets throughout the country who come together to celebrate the significance of poetry in our world. Check out AAP’s poets.org for 30 Ways to Celebrate poetry month this year. We’re celebrating PUP style with a reading list (and some free excerpts) of some of our favorite poetry books. Enjoy!
The Dream of the Poem: Hebrew Poetry from Muslim and Christian Spain, 950-1492
Translated, Edited & Introduced by Peter Cole
Read the Introduction
The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition
Roland Greene, Stephen Cushman, Clare Cavanagh, Jahan Ramazani & Paul Rouzer
Check out some sample entries on Electronic Poetry, Rhythm, Translation, and Verse & Prose
We were delighted to host the launch of the Fourth Edition of The Princeton Encyclopedia of Poetry and Poetics at the London Review Bookshop last Thursday evening. Contributors, well-wishers and lifelong fans gathered together to celebrate this magnificent book. Among them was the contributor on Poetry of Russia, Andrew Kahn, who was kind enough to share his admiration for this much-loved work in a speech:
“Like the appearance of a new James Bond film, the appearance of the fourth edition of The Princeton Encyclopedia of Poetry and Poetics—004!—is cause for jubilation.
This new edition is a magnificent book and achievement. Was there ever a work that taught us more about the ideal and the practical, the historical and the theoretical? Was there ever a work that in a single volume ranged across so many forms of the imagination? Perhaps the Bible, but then for many of its readers, and I include myself, the Princeton Encyclopedia is something of a Bible, containing revelations, divine writings, miracles of concision and lightly worn authority, the precepts of wisdom literature and abundant storytelling. Except that the God of Poetics wears her learning lightly. While deeply serious, and executed with great technical finish, this Good Book is a lovable and playful work. One would want to praise it in terms commensurate it with its contents and achievement. One would therefore want to be a ‘Meistersinger’ (p. 860) gripped by a ‘furor poeticus’ (p.531), ‘inspired’ (p.709) with ‘intensity’ (p. 710) to dithyrambic flights (p.371), to new heights of ‘agudeza’ (p.26), to praise Princeton Press ‘phonesthemically’ (p.1038) in rhyme, near rhyme or even ottava rima, to lavish ‘hovering accents’ (p.640) or devise hypograms (p.649), to roar with leonine rhymes or fire a cybertext, and then to repeat the pythiambic ode, a paplindrome of rispetto or, if you all joined in, to stage a ‘poetry slam’ (p.1070)—a Zulu izibongo (p. 1553) or an epinikion in the Pindaric mode.
It’s not news that the art of poetry has many rules and forms from ‘agudeza’ to ‘Zulu’. But the Princeton Encyclopedia always manages to make it new. This indispensable manual has a history of being savoured and cherished, and the fourth edition will instruct and inspire faithful users and new readers alike. Its reach is global–the expanded selection of national chapters bears witness to the universality and vitality of poetry. It’s worth its considerable weight in gold (but well priced so have no fear). But there’s a further aspect to the Princeton Encyclopedia that I find profoundly wonderful. Poetry as we see it assembled, explored, taxonomized, appreciated and renewed here is a mirror of civilizations and hearts and minds. It turns out that poetry is nothing less than the sum total of virtually everything that goes into thinking and writing about life. In fact, one has only to glance at topical chapters to see that poetry IS life because poetry goes hand in hand with anthropology, belief, culture, dance, gender, history, linguistics, music, painting, philosophy, politics, psychology, religion, science, technology and therapy. And if I might strike a personal note, there are many reference works about poetry, but there is only one that commands universal respect. Contributing a chapter on my subject, and writing an essayistic account of the lives and lines of the poets of Russia, was a privilege and uplifting responsibility.
Horace, a grand old man of poet legislators and sometimes a killjoy, says ‘Nil admirari est’—‘It’s better not to admire’. But the learning, style and sheer scale of Princeton Encyclopedia is worthy of Horace’s own famous Poetics, now fitted for our times yet ‘more lasting than bronze’. 007 may only have so many lives, 004 is imperishable! The contributors, editors and publishers deserve all our ungrudging admiration, congratulations and thanks for the latest incarnation of this tremendous work of learning and spirit.”
Andrew Kahn — Contributor, Poetry of Russia
The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition
Roland Greene, editor in chief
Stephen Cushman, general editor
Clare Cavanagh, Jahan Ramazani & Paul Rouzer, associate editors
Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition—the first new edition in almost twenty years—reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes
At well over a million words and more than 1,000 entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment—including expert synthesis and indispensable bibliographies—than conventional handbooks or dictionaries.
This is a book that no reader or writer of poetry will want to be without.
- Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poets
- More than 250 new entries cover recent terms, movements, and related topics
- Broader international coverage includes articles on the poetries of more than 110 nations, regions, and languages
- Expanded coverage of poetries of the non-Western and developing worlds
- Updated bibliographies and cross-references
- New, easier-to-use page design
- Fully indexed for the first time
The random draw for this book with be Friday 9/21 at 3 pm EST. Be sure to like us on Facebook if you haven’t already to be entered to win!