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A Century of Poetry in the New Yorker: 1925-2025 -- New Yorker Magazine Inc - Ha
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eBay-objectnummer:388404832229
Specificaties
- Objectstaat
- Genre 1
- Books,Subjects,Literature & Fiction,History & Criticism,Criticism
- Label
- Knopf
- Artist
- New Yorker Magazine Inc
- Album
- A Century of Poetry in The New Yorker: 1925-2025
- ISBN
- 9780593801932
Over dit product
Product Identifiers
Publisher
Knopf Doubleday Publishing Group
ISBN-10
0593801938
ISBN-13
9780593801932
eBay Product ID (ePID)
12067495470
Product Key Features
Book Title
Century of Poetry in the New Yorker : 1925-2025
Number of Pages
1024 Pages
Language
English
Publication Year
2025
Topic
Anthologies (Multiple Authors), General
Genre
Poetry, Literary Collections
Format
Hardcover
Dimensions
Item Height
1.9 in
Item Weight
48.9 Oz
Item Length
9.5 in
Item Width
6.4 in
Additional Product Features
Intended Audience
Trade
LCCN
2024-030315
TitleLeading
A
Synopsis
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 Yorker Seamus 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., 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 Yorker Seamus 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.
LC Classification Number
PS586.C44 2025
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