SOLDES
Jusqu'à -70% sur une sélection d'articles*
A Century of Poetry in The New Yorker. 1925-2025
Par :Formats :
Disponible dans votre compte client Decitre ou Furet du Nord dès validation de votre commande. Le format ePub protégé est :
- Compatible avec une lecture sur My Vivlio (smartphone, tablette, ordinateur)
- Compatible avec une lecture sur liseuses Vivlio
- Pour les liseuses autres que Vivlio, vous devez utiliser le logiciel Adobe Digital Edition. Non compatible avec la lecture sur les liseuses Kindle, Remarkable et Sony
- Non compatible avec un achat hors France métropolitaine
, qui est-ce ?Notre partenaire de plateforme de lecture numérique où vous retrouverez l'ensemble de vos ebooks gratuitement
Pour en savoir plus sur nos ebooks, consultez notre aide en ligne ici
C'est si simple ! Lisez votre ebook avec l'app Vivlio sur votre tablette, mobile ou ordinateur :
- Nombre de pages1024
- FormatePub
- ISBN978-0-593-80194-9
- EAN9780593801949
- Date de parution04/02/2025
- Protection num.Adobe DRM
- Taille6 Mo
- Infos supplémentairesepub
- ÉditeurKnopf
Résumé
Edited by the magazine's poetry editor, Kevin Young, a celebratory selection from one hundred years of influential, entertaining, and taste-making verse in The New YorkerSeamus Heaney, Dorothy Parker, Louise Bogan, Louise Glück, Randall Jarrell, Langston Hughes, Derek Walcott, Sylvia Plath, W. S. Merwin, Czeslaw Milosz, Tracy K. Smith, Mark Strand, E. E. Cummings, Sharon Olds, Franz Wright, John Ashbery, Sandra Cisneros, Amanda Gorman, Maggie Smith, Kaveh Akbar: these stellar names make up just a fraction of the wonderfulness that is present in this essential anthology.
The book is organized into sections honoring times of day ("Morning Bell, " "Lunch Break, " "After-Work Drinks, " "Night Shift"), allowing poets from different eras to talk back to one another in the same space, intertwined with chronological groupings from the decades as they march by: the frothy 1920s and 1930s ("despite the depression, " Young notes), the more serious '40s and '50s (introducing us to the early greats of our contemporary poetry, like Elizabeth Bishop, W.
S. Merwin, and Adrienne Rich), the political '60s and '70s, the lyrical '80s and '90s, and then the 2000s' with their explosion of greater diversity in the magazine, greater depth and breadth. Inevitably, we see the high points when poems spoke directly into, about, or against the crises of their times-the war poetry of W. H. Auden and Karl Shapiro; the remarkable outpouring of verse after 9/11 (who can forget Adam Zagajewski's "Try to Praise the Mutilated World"?); and more recently, stunning poems in response to the cataclysmic events of COVID and the murder of George Floyd.
The magazine's poetic influence resides not just in this historical and cultural relevance but in sheer human connection, exemplified by the passing verses that became what Young calls "refrigerator poems": the ones you tear out and affix to the fridge to read again and again over months and years. Our love for that singular Billy Collins or Ada Limón poem-or lines by a new writer you've never heard of but will hear much more from in the future-is what has made The New Yorker a great organ for poetry, a mouthpiece for our changing culture and way of life, even a mirror of our collective soul.
The book is organized into sections honoring times of day ("Morning Bell, " "Lunch Break, " "After-Work Drinks, " "Night Shift"), allowing poets from different eras to talk back to one another in the same space, intertwined with chronological groupings from the decades as they march by: the frothy 1920s and 1930s ("despite the depression, " Young notes), the more serious '40s and '50s (introducing us to the early greats of our contemporary poetry, like Elizabeth Bishop, W.
S. Merwin, and Adrienne Rich), the political '60s and '70s, the lyrical '80s and '90s, and then the 2000s' with their explosion of greater diversity in the magazine, greater depth and breadth. Inevitably, we see the high points when poems spoke directly into, about, or against the crises of their times-the war poetry of W. H. Auden and Karl Shapiro; the remarkable outpouring of verse after 9/11 (who can forget Adam Zagajewski's "Try to Praise the Mutilated World"?); and more recently, stunning poems in response to the cataclysmic events of COVID and the murder of George Floyd.
The magazine's poetic influence resides not just in this historical and cultural relevance but in sheer human connection, exemplified by the passing verses that became what Young calls "refrigerator poems": the ones you tear out and affix to the fridge to read again and again over months and years. Our love for that singular Billy Collins or Ada Limón poem-or lines by a new writer you've never heard of but will hear much more from in the future-is what has made The New Yorker a great organ for poetry, a mouthpiece for our changing culture and way of life, even a mirror of our collective soul.
