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Sounds Good : 101poems to be Heard

Reid Christopher

Verlag: Faber And Faber, London, 1998
ISBN 10: 0571195881 / ISBN 13: 9780571195886
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Titel: Sounds Good : 101poems to be Heard

Verlag: Faber And Faber, London

Erscheinungsdatum: 1998

Einband: Paperback

Zustand: Very Good


Faber and Faber 1998; Good to very good in wraps. ; 161 pages. Buchnummer des Verkäufers 11891

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Inhaltsangabe: Sounds Good offers a collection of 101 poems that have been chosen to illustrate the function of sound in poetry. It follows the publication of Ted Hughes's anthology By Heart, and was conceived as a companion to it. Whereas By Heart shows how important imagery is to the memorability of a poem, Sounds Good reveals how sound is organised within the poem and made to speak directly to the reader's imagination. The poems themselves have been arranged in such a way as to bring their musical qualities to the fore. Christopher Reid has also provided brief notes, approaching the poems from different and sometimes surprising angles, with the purpose of illuminating the processes, formal and linguistic, that have given them their vitality. Sounds Good can be enjoyed simply as a collection of some of the most beautiful poems in the English language; it can also be used as an aid to identify and explore the secret arts of poetry composition itself.

Rezension: If you don't care about the beautiful sounds of language, read a newspaper or telephone book. If, on the other hand, the music of words delights you as much as their meaning--or you remember a time when it did-- Sounds Good, to quote Coleridge, is a "stately pleasure-dome" indeed.

Rather than the usual reliance on rational intelligence to "figure out" a poet's intended meaning, editor Christopher Reid suggests that "the ear may understand a poem before the mind has been able to grasp it". Long before we make the cognitive leap, for instance, that Sylvia Plath, in "Mushrooms", is using barely noticed fungi as metaphors for meek humans who "shall by morning / Inherit the earth" we hear the insistent, hammer-like beat of their (and her) intent:

Nobody sees us,
Stops us, betrays us;
The small grains make room.

Soft fists insist on
Heaving the needles,
The leafy bedding,

Even the paving.
Our hammers, our rams,
Earless and eyeless,

Perfectly voiceless,
Widen the crannies,
Shoulder through holes...
Never mind these stressed words are what poets call, in meter-speak, dactyls and spondees. The important part is hearing them thud.

Reid has chosen carefully, including some of our finest poets--from Auden to Yeats, plus 99 mellifluous stops in between. In a "Notes" section, pithy, page-by-page insights into metrical, syntactical and rhythmical tricks of the trade are given, so you'll learn, for example, that anapaests propel Stevenson's "Railway Carriage", and Roethke's "My Papa's Waltz" is written in triple time. Also included for good measure (so to speak): an obligatory trip to Xanadu. -- Martha Silano

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