The Unnamable 2 Full Movie Free Online

0 views

Skip to first unread message

Toney Talbot

unread,

Aug 3, 2024, 4:58:47 PM8/3/24

to perracemi

This textbook covers the writing, revising, publishing, and reading of poetry with deftness and thorough attention to detail. Each section is accessible, clear, and informative. I've read many poetry textbooks and rarely have I seen a textbook cover the process of publishing or reading your own poetry to audiences. No section is particularly overwrought or dense, instead each section covers the most crucial pieces of information related to that element in a concise but comprehensive way.

This textbook uses accurate and varied definitions of the most crucial terms. The text pulls multiple quotes to help define complex and historically loaded terms with which it engages most closely (poetry, poem, image, etc). The text wasn't afraid to share differing or contradictory ideas of what poetry is, which is crucial when attempting to define a notoriously difficult to define term like poetry. The information about specific techniques (meter, enjambment, etc) was appropriately detail-oriented with excellent practical examples to share with students.

The text is written in extremely accessible prose. I could share these chapters with students with little to no familiarity with the topics presented. A lot of the clarity of this text comes from the excellent example poems, quotes, and exercises throughout. These examples would make for great discussion with both practical application and the potential for more deep, nuanced conversation.

Yes, the text does a great job of interweaving relevant techniques and terminology into each chapter. The text builds on itself, so that if students worked through in order, it would provide the scaffolding needed to understand each piece on its own and as part of the broader topic.

Yes, I mentioned the natural scaffolding above and it applies here as well. The chapters are broken down into appropriate sections in an order that is easy to follow. The only issue is that some of the chapters, though organized well, are quite long. It might be worthwhile to break down chapters even more (a lesson on lines, a lesson on stanzas, etc).

No single book can be a truly comprehensive study of poetry, but Evory's work does its best to give a thorough, well-rounded introduction to writing and analyzing poetry. She includes classic, familiar literary writers, including Keats and...read more

The title and initial introduction gave me doubts, as it seemed unnecessarily academic and wordy, but Chapter 1 immediately proved me wrong. Evory's voice, tone, and syntax is readable and accessible. I wouldn't hesitate to recommend this work for high school students or college students needing a good introduction to creative writing.

Not only is the book well-organized, but individual activities are highlighted so students and instructors can find them easily in the middle of class. These activities, interspersed through the chapters, will make for excellent teaching experiences.

The end of the main text includes a section of "Key Terms," separate sections for the "Concrete Word List" and "Abstract Word List," "Recommended Accompanying Reading," and a full "Works Cited." All of these sections are easy to find and enormously useful.

I reviewed the text online as a downloadable pdf. I had no problems with navigation; the book is searchable and "clean" in appearance. The "Works Cited" includes clickable links to additional material, which can be particularly useful for students who want to dig deeper.

The text is mostly very clean, but the punctuation and format of the "Works Cited" is inconsistent. The hyperlinks to additional sources go a long way toward making up for this, but it's not a great example if teachers also need to teach MLA citation format.

Evory uses a wide variety of poems from different time periods and cultures, giving a sense of the history of poetry and the vital nature of contemporary poets. One could argue for even more poems and wider representation, but I believe it's more useful for teachers to personalize their own reading examples. The wonderful website provided by Poetry Foundation, which Evory cites in the text, is ideal for providing more free readings to enrich the class and work with this text.

I'm looking forward to working with this text in an introductory "Writing Poetry" course. I'll also be assigning a reading anthology, and I believe the combination will be rich, accessible, and useful to my students.

This book is a thoughtful guide to writing poetry, with attention to many of the building blocks of poems, both formalist and free-verse. The poems included are mostly English-language (few translated poems) and from the modern/contemporary...read more

The book is mostly very comprehensive. It manages to cover important elements for reading and writing poetry, while also offering helpful, interactive tips and exercises throughout. My main criticism with the book's comprehensiveness--and perhaps my main criticism in general--is that many chapters seem to squeeze in too much information that could be overwhelming or unnecessary for beginning writers. The author's explanations can sometimes feel overly exhaustive, verging on pedantic, prescriptive, and even (unintentionally) condescending at times (e.g., giving both Latin and Anglo definitions; explaining how to use active verbs in different tenses; long, detailed, line-by-line close-readings of poems, etc.). I also would have liked more useful information about meter and scansion. Instead of explaining how to hear meter and how to practice scansion, the author simply defines different types of meters, which, arguably, beginning writing students don't really need to know.

The author is an authority on poetry. She references poetic theory and offers several useful quotes from poets about their poetics and philosophies. The poems included are culturally and racially diverse and inclusive, and both contemporary and canonical. I only wish the information was presented in a less prescriptive way. While the author often offers helpful advice and information, it seems counterintuitive to encourage play and experimentation while also instructing writers about what they should and shouldn't do in poems. To me, the delivery of the information at times--which is separate from the information itself--was problematic.

A major strength of the book is its lasting quality. I could foresee using this book for years. It also has the capability of being used to supplement craft-related lessons/exercises, and in this way is very versatile.

The author presents ideas and information in a clear, lucid way. I don't see students struggling to comprehend the information being explained. But I do see them struggling with finding the information tedious, unnecessary, and sometimes overly-explained. I worry students might rely on skimming or even lose interest/focus for the some of the longer chapters.

There are clear headings and chapters, but sometimes there are enormous blocks of text that can be hard to follow (e.g., close, line-by-line readings of poems). It also would have been appreciated if the author chose poets besides herself to give examples of how revision can work.

It is mostly very organized, although I wasn't always sure about some of the chapters. In the chapter on images, for example, it wasn't clear why figures of speech, cliches, and figurative language were included. Figurative language merits its own chapter, when here it seems merely tacked on at the end of the chapter.

There are some link errors, namely the Traci Brimhall link in Chapter Four, and the text numbers in some versions do not properly correspond. There are some nice features of the online version, particularly the option to increase font size, that would provide more accessibility for students. The fact that there are some links to outside sources is well-welcomed and useful for instruction.

"I found this textbook in full to be tremendously useful. It covers ground that very few poetry textbooks do, such as how to submit poems for publication and how to read poems for an audience. The chapters on ""Image,"" ""Voice,"" ""Architecture,"" ""Acoustics,"" and Experimenting with Forms"" provide especially apt descriptions of concepts that poets need to know, as well as brilliant and approachable accompanying exercises. I found that this book mostly goes above and beyond in encompassing the subject of writing poetry.
The accompanying materials at the end, such as the list of key terms, the lists of concrete and abstract words, the recommended accompanying resources, and the works cited page organized by chapter, are all immensely useful.
However, there is no index in this book. Although the list of key terms at the end is an extremely helpful learning accompaniment, being able to locate a term within the larger context is crucial for me in teaching."

I found all information to be accurate. As for un-biased, I'm not sure that any sincere guide on writing poetry can be unbiased. That said, Bonczek Every's biases are very much in line with my own teaching philosophy, which is that enforcing the act of play, more so than focusing on achieving some kind of "mastery," is what is important in teaching writing poetry or any genre. I love how she emphasizes the necessity that a writer have absolute freedom, and be able to tune out self-criticism. I also very much agree with her assertion that poems are not necessarily ever finished. These are all certain kinds of biases, but ones that I have found to be extraordinarily conducive to giving our students permission to write, and to silence their inner critics.