The author adopts a new approach to the understanding and appreciation of poetry in English. Spoken language is the basis of this art, so careful attention is given to its rhythms and other sound patterns. Poetry is meant to be heard, above all, and any approach that does not recognize this sells the poet, and the poem, short. The author, himself a poet, illustrates his arguments with examples drawn from nursery rhymes, limericks and Dadaist "ear poems", as well as from familiar works. The book concludes with an anthology drawn from poems written over the past thousand years, laid out in a way designed to help each reader with his or her subjective tastes.
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In this refreshing and inspiring book, Phil Roberts asserts that poetry, like music, is based on sound and so close attention should be paid to its rhythms and metrical patterns. He illustrates his points with lively examples ranging from nursery rhymes and limericks to recent experimental forms as well as familiar pieces from over the centuries. The book concludes with a Millennium Anthology, a salute to the poetry of the past thousand years, including pieces from England, Ireland, Scotland and Wales, as well as Australia, Canada, New Zealand and the USA.
Phil Roberts was born in Canada and educated there and in England. Apart from working as a writer, with over ten published books, he is also an active musician. He is an Associate of the Australian Conservatory of Music and also of the Royal Canadian College of Organists.
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