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Lyric Essay is a literary hybrid that combines elements of poetry, essay, and memoir. [1] The lyric essay is a relatively new form of creative nonfiction. John D’Agata and Deborah Tall published a definition of the lyric essay in the Seneca Review in 1997: "The lyric essay takes from the prose poem in its density and shapeliness, its distillation of ideas and musicality of language."
The book includes short lyric poems, a recurring sequence of prose poems called "The Structure of Rime," and a long poem called "Poem Beginning with a Line by Pindar". The long poem draws materials from Pindar , Francisco Goya , Walt Whitman , Ezra Pound , Charles Olson , and the myth of Cupid and Psyche into an extended visionary and ecstatic ...
Deborah Anne Tall (March 16, 1951 – October 19, 2006) was an American writer and poet. From 1982 until 2006, she was a professor of literature and writing at Hobart and William Smith Colleges and edited the literary journal, The Seneca Review. [1]
The work hybridizes several prose and poetry styles as it documents Nelson's multifaceted experience with the color blue, and is often referred to as lyric essay or prose poetry. [1] [2] It was written between 2003 and 2006. [3] [4] The book is a philosophical and personal meditation on the color blue, lost love, grief and existential solitude.
The result is a short lyrical work, court epic, narrative or dramatic work. Kāvya can refer to the style or the completed body of literature. Aśvaghoṣa (c. 80–150 AD), a philosopher and poet considered the father of Sanskrit drama, is attributed with first using the term.
The lyric became the dominant mode of French poetry during this period. [23]: 15 For Walter Benjamin, Charles Baudelaire was the last example of lyric poetry "successful on a mass scale" in Europe. [24] In Russia, Aleksandr Pushkin exemplified a rise of lyric poetry during the 18th and early 19th centuries. [25]
In 1959 M. L. Rosenthal first used the term "confessional" in a review of Robert Lowell's Life Studies entitled "Poetry as Confession". [6] Rosenthal differentiated the confessional approach from other modes of lyric poetry by way of its use of confidences that (Rosenthal said) went "beyond customary bounds of reticence or personal embarrassment". [7]
Hurley, who is renowned for his 'widely acclaimed' translations of Borges's work, [5] has written an essay on the subject of translating Borges, and what difficulties there are in trying to recreate for an English-speaker the effect that the original Spanish has on a native speaker of said language; he also discusses what is 'lost in ...
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