By Bret Anthony Johnston, Melissa Pritchard
Poets & Writers “Best Books for Writers" selection
Publishers Weekly “Top 10: Literary Biographies, Essays & Criticism"
In an essay entitled “Spirit and Vision" Melissa Pritchard poses the query: “Why write?" Her solution reverberates all through A Solemn excitement, offering an indisputable case for either the facility of language and the nurturing fidelity of the writing lifestyles. even if describing the deeply inside ingenious lifestyles required to jot down fiction, trying to find the misplaced legacy of yankee literature as embodied by means of Walt Whitman, being embedded with a tender woman GI in Afghanistan, touring with Ethiopian tribes, or revealing the heartrending tale of her informally followed son William, a former Sudanese baby slave, this is often nonfiction vividly engaged with the area. In those fifteen essays, Pritchard stocks her ardour for writing and storytelling that educates, honors, and inspires.
Melissa Pritchard is the writer of, such a lot lately, the radical Palmerino and the fast tale assortment The Odditorium. Her books have got the Flannery O'Connor, Janet Heidinger Kafka, and Carl Sandburg awards and of her brief fiction collections have been long island occasions extraordinary booklet and Editors' selection choices. Pritchard has labored as a journalist in Afghanistan, India, and Ethiopia, and her nonfiction has seemed in numerous courses, together with O, The Oprah journal, Arrive, Chicago Tribune, and Wilson Quarterly. She lives in Phoenix, Arizona.
Read or Download A Solemn Pleasure: To Imagine, Witness, and Write (The Art of the Essay Series) PDF
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Extra info for A Solemn Pleasure: To Imagine, Witness, and Write (The Art of the Essay Series)
He believed he discovered a paradox in claims that accentual verse works by counting the natural stresses in the line. For example, despite S. T. Coleridge’s claims that “Christabel” is in a “new” meter and that every line in it will be found to have exactly four stresses, the poem actually contains a number of problematic lines, like “How drowsily it crew,” which cannot by any reasonable standard carry four natural accents. Of this line Bridges remarks: “In stress-verse this line can have only two accents .
Palache, independent scholar Anne Paolucci, Council on National Literature †Henry Paolucci, Government and Politics (emeritus), St. John’s University †Douglass S. Parker, Classics, University of Texas, Austin Walter Ward Parks, independent scholar James Parsons, Music, Missouri State University Deven M. Patel, South Asia Studies, University of Pennsylvania Dipti R. Pattanaik, English, Ravenshaw University Mark Payne, Classics, University of Chicago Victoria Pedrick, Classics, Georgetown University Stephen Penn, English, University of Stirling Jeffrey M.
The “four levels” represent an intermediate abstraction, as does the more traditional compromise of secondary stress or the hovering accent of Brooks and Warren. “Trager and Smith . . demonstrated that stress and pitch are much more complex and variable phenomena than could be accounted for by the binary unstress-stress relation of traditional prosody” (Bradford )—but this important truth should not mislead us into trying to weld speech rhythm and metrical pattern into an unwieldy whole, rather than hearing their interplay.