Status
Available
Genres
Publication
Ecco (1994), Edition: First, 130 pages
Description
Offers advice on reading and writing poetry, and discusses imitation, sound, the line, poem forms, free verse, diction, imagery, revision, and workshops.
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User reviews
LibraryThing member railheater
"To interrupt the writer from the line of thought is to wake the dreamer from a dream."
This line is not found until a hundred some pages into the book, but it was absolutely my favorite one. It was like that awesome line from a movie or TV show that you love. That moment of feeling when nothing
It is no surprise then that I found Mary Oliver: A Poetry Handbook to be quite the gem for me. I learned so much more about sound than I ever gave time to think about before, and I appreciated the way she talked about turning the line, repetitions, verses, variations, diction, tone, voice, imagery, personification, revision, and more.
But, it was not all about making sure the literary foundation was there. The handbook also touched on practice, taking notes, imitation, application, workshops, emotional freedom, solitude, integrity, etc. While these parts were not the focus of the book, I did find they supported the base in their own meaningful ways to help the reader start or adjust their own process of any kind of writing and get closer to that memorable connection in at last catching the flame.
Ultimately, I loved how Mary Oliver: A Poetry Handbook ended up reminding me of standing back and looking at a stained glass window and appreciating all the time, love, and patience that went into sharing the creation of its warmth with others.
This line is not found until a hundred some pages into the book, but it was absolutely my favorite one. It was like that awesome line from a movie or TV show that you love. That moment of feeling when nothing
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before or after ever quite ellicits the same build up to wow. It is no surprise then that I found Mary Oliver: A Poetry Handbook to be quite the gem for me. I learned so much more about sound than I ever gave time to think about before, and I appreciated the way she talked about turning the line, repetitions, verses, variations, diction, tone, voice, imagery, personification, revision, and more.
But, it was not all about making sure the literary foundation was there. The handbook also touched on practice, taking notes, imitation, application, workshops, emotional freedom, solitude, integrity, etc. While these parts were not the focus of the book, I did find they supported the base in their own meaningful ways to help the reader start or adjust their own process of any kind of writing and get closer to that memorable connection in at last catching the flame.
Ultimately, I loved how Mary Oliver: A Poetry Handbook ended up reminding me of standing back and looking at a stained glass window and appreciating all the time, love, and patience that went into sharing the creation of its warmth with others.
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LibraryThing member Daedalus
It was good enough for me to buy a second time after an ex stole my first copy.
LibraryThing member LeHack
A handbook to help readers enjoy poetry more and understand it better. Covers types of poems (sonnets, villanelles)and meter.
LibraryThing member Bat
This book covers the basic essentials for the starting/improving poet. Written in Mary Oliver's inimitable clear, solid language, it has enough classic excerpts to inspire generally and to teach specific poetry concepts. Mary Oliver's life and love of writing, and teaching shines through.
LibraryThing member rmckeown
Mary Oliver is quickly becoming one of my favorite poets. Her latest collection, Blue Horses, pleases the eye and ear every bit as much as all of her previous works I have read.
As is true of many of her poems, Oliver focuses on nature. The selections in this collection, however, seem quite a bit
I also love the humor in her poems, particularly “First Yoga Lesson.” “‘Be a lotus in the pond,’” she said, “‘opening / slowly, no single energy tugging / against another but peacefully, / all together’.” // I couldn’t even touch my toes. / “‘Feel your quadriceps stretching?’” she asked. / Well, something was certainly stretching. // Standing impressively upright, she / raised one leg and placed it against / the other, then lifted her arms and / shook her hands like leaves. “Be a tree,’” she said. // I lay on the floor, exhausted. / But to be a lotus in the pond / opening slowly, and very slowly rising -- / that I could do” (7).
As always, Oliver’s poems contain vivid images, which take the reader onto the floor, on a mat, stretching. She accomplishes this feat over and over with the plainest of language. I can’t get enough of her way with words.
When I found Blue Horses, I noticed a slim volume by Oliver nearby: A Poetry Handbook. I am so sorry I missed this explication of all the intricacies of poetry originally published in 1994. I recommend this slim volume for anyone interested in poetry. I found her Introduction highly informative. Here a few random paragraphs. Oliver writes, “Everyone knows that poets are born and not made in school. This is true also of painters, sculptors, and musicians. Something that is essential can’t be taught; it can only be given, or earned, or formulated in a manner too mysterious to be picked apart and redesigned for the next person. // Still, painters, sculptors, and musicians require a lively acquaintance with the history of their particular field and with past as well as current theories and techniques. And the same is true of poets. Whatever can’t be taught, there is a great deal that can, and must be learned.” Oliver says she wrote this book, “in an effort to give the student a variety of technical skills -- that is options. It is written to empower the beginning writer who stands between two marvelous and complex things – an experience (or an idea or a feeling), and the urge to tell about it in the best possible conjunction of words.
Just a smidgeon over 200 pages, these two works by Mary Oliver – Blue Horses: Poems and A Poetry Handbook – are excellent starting points for those curious about what makes a poem a poem and handy guides for those who want to sharpen their skills. Both 5 stars
--Jim, 12/31/14
As is true of many of her poems, Oliver focuses on nature. The selections in this collection, however, seem quite a bit
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more philosophical than most of the others I have experienced. For example, the first poem in the collection combines these two ideas. In “After Reading Lucretius, I Go to the Pond,” Oliver writes, “The slippery green frog / that went to his death / in the heron’s pink throat / was my small brother, // and the heron / with the white plumes / like a crown on his heard / who is washing now his great sword-beak / in the shining pond / is my tall brother. // My heart dresses in black / and dances” (1). I also love the humor in her poems, particularly “First Yoga Lesson.” “‘Be a lotus in the pond,’” she said, “‘opening / slowly, no single energy tugging / against another but peacefully, / all together’.” // I couldn’t even touch my toes. / “‘Feel your quadriceps stretching?’” she asked. / Well, something was certainly stretching. // Standing impressively upright, she / raised one leg and placed it against / the other, then lifted her arms and / shook her hands like leaves. “Be a tree,’” she said. // I lay on the floor, exhausted. / But to be a lotus in the pond / opening slowly, and very slowly rising -- / that I could do” (7).
As always, Oliver’s poems contain vivid images, which take the reader onto the floor, on a mat, stretching. She accomplishes this feat over and over with the plainest of language. I can’t get enough of her way with words.
When I found Blue Horses, I noticed a slim volume by Oliver nearby: A Poetry Handbook. I am so sorry I missed this explication of all the intricacies of poetry originally published in 1994. I recommend this slim volume for anyone interested in poetry. I found her Introduction highly informative. Here a few random paragraphs. Oliver writes, “Everyone knows that poets are born and not made in school. This is true also of painters, sculptors, and musicians. Something that is essential can’t be taught; it can only be given, or earned, or formulated in a manner too mysterious to be picked apart and redesigned for the next person. // Still, painters, sculptors, and musicians require a lively acquaintance with the history of their particular field and with past as well as current theories and techniques. And the same is true of poets. Whatever can’t be taught, there is a great deal that can, and must be learned.” Oliver says she wrote this book, “in an effort to give the student a variety of technical skills -- that is options. It is written to empower the beginning writer who stands between two marvelous and complex things – an experience (or an idea or a feeling), and the urge to tell about it in the best possible conjunction of words.
Just a smidgeon over 200 pages, these two works by Mary Oliver – Blue Horses: Poems and A Poetry Handbook – are excellent starting points for those curious about what makes a poem a poem and handy guides for those who want to sharpen their skills. Both 5 stars
--Jim, 12/31/14
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LibraryThing member mykl-s
My first real introduction, outside of classes, of the structures and sense of poems. It's still an important guide to reading and enjoying poetry for me.
LibraryThing member lschiff
A wonderful, concise technical reference book about poetry.
LibraryThing member Treebeard_404
A slim volume aimed at the beginning / aspirational poet (such as myself). I trust that it contains sufficient information and wisdom not to overwhelm.
Subjects
Language
Original language
English
Original publication date
1994
Physical description
130 p.; 8 inches
ISBN
9780156724005