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Poetry and the Fate of the Senses, by Susan Stewart
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What is the role of the senses in the creation and reception of poetry? How does poetry carry on the long tradition of making experience and suffering understood by others? With Poetry and the Fate of the Senses, Susan Stewart traces the path of the aesthetic in search of an explanation for the role of poetry in our culture. The task of poetry, she tells us, is to counter the loneliness of the mind, or to help it glean, out of the darkness of solitude, the outline of others. Poetry, she contends, makes tangible, visible, and audible the contours of our shared humanity. It sustains and transforms the threshold between individual and social existence.
Herself an acclaimed poet, Stewart not only brings the intelligence of a critic to the question of poetry, but the insight of a practitioner as well. Her new study draws on reading from the ancient Greeks to the postmoderns to explain how poetry creates meanings between persons. Poetry and the Fate of the Senses includes close discussions of poems by Stevens, Hopkins, Keats, Hardy, Bishop, and Traherne, of the sense of vertigo in Baroque and Romantic works, and of the rich tradition of nocturnes in visual, musical, and verbal art. Ultimately, Stewart explores the pivotal role of poetry in contemporary culture. She argues that poetry can counter the denigration of the senses and can expand our imagination of the range of human expression.
Poetry and the Fate of the Senses won the 2004 Truman Capote Award for Literary Criticism in Memory of Newton Arvin, administered for the Truman Capote Estate by the University of Iowa Writers' Workshop. It also won the Phi Beta Kappa Society's 2002 Christian Gauss Award for Literary Criticism.
- Sales Rank: #922592 in Books
- Color: White
- Published on: 2002-01-20
- Released on: 2002-01-20
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.10" w x 6.00" l, 1.33 pounds
- Binding: Paperback
- 458 pages
From Publishers Weekly
"The historical body of poetic forms is more and more an archive of lost sensual experiences the sound of wind in uninhabited spaces; the weight of ripe things not yet harvested." In Poetry and the Fate of the Senses, poet and critic Susan Stewart (On Longing) tracks poetry's sensual engagements, drawing on a truly incredible number of classical and modern canonical texts to show how poetry constructs its peculiar phenomenologies.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Stewart, a poet, professor, and MacArthur Fellow, ambitiously traces "the path of the aesthetic in search of an explanation for the role of poetry in our culture." In a book much like Burke's On the Sublime or Kant's Observations on the Sublime, Stewart tacks from darkness and grief to sound, poetic voice, lyric possession, the deictic now (measure and time), and the nocturne. She contends that poetry "makes tangible, visible, and audible the contours of our shared humanity," that it "sustains and transforms the threshold between individual and social existence." Drawing from many examples of poetry, from the ancient Greeks to the postmoderns, she explores the interplay between somatic apprehensions (sound, listening, touch, vertigo) and formal orders. Both physically and poetically big, this book is recommended for those studying the metaphysics of poetry. Scott Hightower, Fordham Univ., New York
Copyright 2002 Reed Business Information, Inc.
From the Inside Flap
What is the role of the senses in the creation and reception of poetry? How does poetry carry on the long tradition of making experience and suffering understood by others? With Poetry and the Fate of the Senses, Susan Stewart traces the path of the aesthetic in search of an explanation for the role of poetry in culture. Herself an acclaimed poet, Stewart not only brings the intelligence of a critic to the question of poetry, but the insight of a practitioner as well. Her new study includes close discussions of poems by Stevens, Hopkins, Keats, Hardy, Bishop, and Traherne, of the sense of vertigo in Baroque and Romantic works, and of the rich tradition of nocturnes in visual, musical, and verbal art. Ultimately, she argues that poetry can counter the denigration of the senses in contemporary life and can expand our imagination of the range of human expression.
Poetry and the Fate of the Senses won the 2004 Truman Capote Award for Literary Criticism in Memory of Newton Arvin, administered for the Truman Capote Estate by the University of Iowa Writers' Workshop. It also won the Phi Beta Kappa Society's 2002 Christian Gauss Award for Literary Criticism.
Most helpful customer reviews
7 of 8 people found the following review helpful.
Full of thought-provoking material
By Mike
This award-winning book is chock full of thought-provoking material, which not only collects ground-shifting pieces Stewart has written (such as "Lyric Possession"), but also develops a very coherent thruline out of that wonderful work, marshaling it all towards an argument about the importance of the senses in poetic form and in our reading of poetry: the sensuousness of verse, worked up in its form, is a form of collective memory, as we take up and reuse, rework different shapes from the past. Moving through examples across many periods, it gives us new ways to care about poetry while we analyze it, pursuing a range of aesthetic questions with gestures towards poems upon which they bear. This may frustrate overmethodical readers (looking for surefire ways to produce readings within the stale paramaters of the "period"), but what they miss is that the book has a concreteness that actually rivals what a more confined study can produce. In short, it has a suggestiveness that is only experimental in the sense that it comes from experience, and will give you as many new avenues into poetry as reasons for the importance of verse in our time.
23 of 50 people found the following review helpful.
Zero attention span
By DabblerArts
This book is certainly learned and brilliant, as those are the things it labors to be. Though geared toward a general audience, helpful criticism it is not, as Stewart here possesses none of the patience and clarity of a real critic. Every page offers a slew of insights atop a heap of impressive names and works; every paragraph is a veritable bibliography in the making. The method seems to be to start with some notion (that sound has a relation to meaning, for example), then to send research assistants to chase down all possible references and illustrations. It's very tedious reading, and as I've said, not at all helpful, since nothing is really explained, only endlessly and needlessly elaborated upon. I'm writing this to warn those who might be tempted, as I was, by the awesome title.
I've just read Walter Ong's Orality and Textuality, and what an enlightening contrast that is. Ong deals with some of the same questions that Stewart concerns herself with, but with real method and seriousness. I highly recommend that book!
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