By Glennis Byron, Andrew J. Sneddon
The stimulating mixture of teachers and training poets that experience contributed to this quantity presents an strange and illuminating integration of serious and artistic perform and a vibrantly assorted method of questions of poetry and sexuality. each one component of essays is complemented by means of poems which creatively illustrate or boost the topic with which the essays seriously interact. instead of being constrained to a particular style, culture, time or position, this assortment seeks to make a advantage of distinction, comparability and juxtaposition. the gathering is prepared into sections that variety commonly around the thematic floor of dichotomies, traditions and revisions, microscopic and macroscopic views, girls and embodiment, and the idea of play and function. Positioning eighteenth-century tinkers ballads along medieval Hebrew lyrics and the Blues of beautiful Puddin', or making Dionysus rub shoulders with Sharon Olds and Mrs Rochester presents new views on common fabric and worthy insights into extra imprecise paintings and the character of sensual poetry as a style of expression. because the editors recommend, the essays and poems offered jointly argue that writings approximately sexuality are constantly already concerning the manner poets see and characterize bodies, the area and poetic language itself.
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Additional info for The Body and the Book, Writings on Poetry and Sexuality (DQR Studies in Literature)
I will explore this question by analysing five short poems from ‘Movin’ to the Beat’. Each poem explores the relationship between music, sex, and poetry from a different perspective, but I will argue that what binds them together is a trait shared by both music and erotic poetry: the art of taking physical events, sound and sex, and transforming them into things of beauty. Through language, the poets are able to play with the boundaries between music, sex, and poetry, resulting in an integrated aesthetic experience of mind and body.
And I remember the glare of the barley field; my husband pushing away the sponge I pressed to his burning head; the stubble puncturing my feet as I ran, flinging myself on a body that was already cooling and stiffening; and the nights when I lay on the roof – my emptiness like the emptiness of a temple with the doors kicked in; and the mornings when I rolled in the ash of the fire just to be touched and dirtied by something. And I bring my blade down on his neck – and it’s easy like slicing through fish.
Water is the correlative of our blood; it is the element in which we are nurtured, the amniotic fluid of our womblife. There is something comforting about this, which is presumably part of the attraction of the sensuous lounging in shallow waters that humans so much enjoy (a throwback here to the aquatic ape). When a child approaches the sea for the first time she might taste it and say, it tastes of salt. Such bewilderment! Of course it is a surprise but it is also a recognition of something intimately known.
The Body and the Book, Writings on Poetry and Sexuality (DQR Studies in Literature) by Glennis Byron, Andrew J. Sneddon