Böcker av Stephanie Burt

Esteemed scholar, poet, and critic Stephanie Burt anthologizes five decades of verse for and by queer Americans. Interpreted by Burt, the poems of Frank O'Hara, Audre Lorde, Judy Grahn, James Merrill, Thom Gunn, Jackie Kay, Adrienne Rich, Chen Chen, The Cyborg Jillian Weise, and others trace a flourishing of queer life from Stonewall to today.

An award-winning poet offers a brilliant introduction to the joys--and challenges--of the genre

Effusive new poems by Stephanie Burt, "perhaps our greatest poet of having yet more to say" (Boston Review) Stephanie Burt's poems in We Are Mermaids are never just one thing. Instead, they revel in their multiplicity, their interconnectedness, their secret powers to become much more than they at first seem. In these poems, punctuation marks make arguments for their utility and their rights to exist. Frozen isn't simply another Disney animated musical but "the Most Trans Movie Ever." Mermaids, werewolves, and superheroes don't just fret over divided natures and secret identities, but celebrate their wholeness, their unique abilities, and their erotic potential. Flowers in this collection bloom into exactly what they are meant to be-revealing themselves, like bleeding hearts, beyond their given names.With humor and insight, Burt's poems have always cherished and examined the things of this world, both real and imagined objects of fascination and desire. In this resplendent new collection, her observation and care flourish into her most fulfilled book yet. These poems shake off indecisiveness and doubt to reach joys through romance and family, through nature (urban and otherwise), and through imaginative community. We Are Mermaids is a trans book, a fangirl book, a book about coming together. It's also Burt's best book.

The variety of contemporary American poetry leaves many readers overwhelmed. Critic, scholar, and poet Stephanie Burt sets out to help. Beginning in the early 1980s, where critical consensus ends, she presents 60 poems, each with an original essay explaining how the poem works, why it matters, and how it speaks to other parts of art and culture.

Early in the twentieth century, Americans and other English-speaking nations began to regard adolescence as a separate phase of life. Associated with uncertainty, inwardness, instability, and sexual energy, adolescence acquired its own tastes, habits, subcultures, slang, economic interests, and art forms. This new idea of adolescence became the driving force behind some of the modern era's most original poetry.Stephen Burt demonstrates how adolescence supplied the inspiration, and at times the formal principles, on which many twentieth-century poets founded their works. William Carlos Williams and his contemporaries fashioned their American verse in response to the idealization of new kinds of youth in the 1910s and 1920s. W. H. Auden's early work, Philip Larkin's verse, Thom Gunn's transatlantic poetry, and Basil Bunting's late-modernist masterpiece, Briggflatts, all track the development of adolescence in Britain as it moved from the private space of elite schools to the urban public space of sixties subcultures. The diversity of American poetry from the Second World War to the end of the sixties illuminates poets' reactions to the idea that teenagers, juvenile delinquents, hippies, and student radicals might, for better or worse, transform the nation. George Oppen, Gwendolyn Brooks, and Robert Lowell in particular built and rebuilt their sixties styles in reaction to changing concepts of youth. Contemporary poets continue to fashion new ideas of youth. Laura Kasischke and Jorie Graham focus on the discoveries of a specifically female adolescence. The Irish poet Paul Muldoon and the Australian poet John Tranter use teenage perspectives to represent a postmodernist uncertainty. Other poets have rejected traditional and modern ideas of adolescence, preferring instead to view this age as a reflection of the uncertainties and restricted tastes of the way we live now. The first comprehensive study of adolescence in twentieth-century poetry, The Forms of Youth recasts the history of how English-speaking cultures began to view this phase of life as a valuable state of consciousness, if not the very essence of a Western identity.

Few poetic forms have found more uses than the sonnet in English, and none is now more recognizable. This title collects one hundred exemplary sonnets of the English language (and a few sonnets in translation), representing highlights in the history of the sonnet, accompanied by short commentaries on each of the poems.