{"product_id":"poetry-for-dummies-paperback-softback-9781394375554","title":"Poetry For Dummies (Paperback \/ softback) 9781394375554","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003ePoetry For Dummies\u003c\/font\u003e\u003cbr\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003c\/p\u003e\n\u003cp\u003e\u003cfont size=\"4\"\u003eJohn Timpane (Author),  (Author), Marina Watts (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781394375554, Wiley\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 7 May 2026\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e352 pages\u003cbr\u003e23.4 x 18.8 x 2.5 cm, 0.499 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003cb\u003eExplore the mystique, power, and beauty of poetry with this easy-to-read guide\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003ePoetry For Dummies, 2nd\u003c\/i\u003e Edition is an easy-to-follow and insightful guide to poetry designed to unlock your innate ability to understand and appreciate this powerful art form. The authors offer clear discussions of the fundamentals of poetry – including common poetic techniques, key styles of poetry, and effective interpretation strategies – and useful tools and exercises you can use today to improve the ways you write and read poetry.\u003c\/p\u003e \u003cp\u003eYou’ll explore the rich history of poetry and find out what genres and styles of this oldest form of literature speak directly to you. You’ll also discover how to understand the themes, metaphors, and meanings that animate all sorts of poetry and help you uncover new depths of substance in your favorite writings.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eInside:\u003c\/b\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eExpert instruction on how to work with traditional forms of verse, write poetry, and understand how different genres and eras of poetry relate to each other\u003c\/li\u003e \u003cli\u003eHands-on exercises to help you write your first – or next – poem\u003c\/li\u003e \u003cli\u003eA comprehensive discussion of common poetry terminology, complete with definitions of everything from iambs to trochees, tankas, and psalms\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eAn eye-opening and exciting guide for anyone interested in poetry, \u003ci\u003ePoetry For Dummies, 2nd\u003c\/i\u003e Edition is also a must-read for aspiring poets, practicing writers, people who already love poetry, and English teachers everywhere.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003eAbout This Book 2\u003c\/p\u003e \u003cp\u003eIcons Used in This Book 3\u003c\/p\u003e \u003cp\u003eBeyond the Book 4\u003c\/p\u003e \u003cp\u003eWhere to Go from Here 4\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 1: Reading and Understanding Poetry 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1: Knowing Poetry When You See It 7\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePoetry as Art and Exploration 8\u003c\/p\u003e \u003cp\u003eWhy Do People Write Poetry? 9\u003c\/p\u003e \u003cp\u003eCreating an intense emotional experience 10\u003c\/p\u003e \u003cp\u003eDrawing attention to something real 12\u003c\/p\u003e \u003cp\u003eBringing Poetry into Your Life 13\u003c\/p\u003e \u003cp\u003eOnline is just fine 13\u003c\/p\u003e \u003cp\u003eChecking out libraries 15\u003c\/p\u003e \u003cp\u003eBrowsing through bookstores 16\u003c\/p\u003e \u003cp\u003eAttending readings 17\u003c\/p\u003e \u003cp\u003eWriting Poetry 18\u003c\/p\u003e \u003cp\u003eBecoming a poet 18\u003c\/p\u003e \u003cp\u003eKeeping a poetry journal 19\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2: Reading Poetry Aloud 21\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWhy You Should Read Poems Aloud 21\u003c\/p\u003e \u003cp\u003eGood Habits for Good Reading 23\u003c\/p\u003e \u003cp\u003eHaving the right tools handy 23\u003c\/p\u003e \u003cp\u003eReading silently first 24\u003c\/p\u003e \u003cp\u003eNoting surprises and unfamiliar words 24\u003c\/p\u003e \u003cp\u003eFinding an engaged, conversational tone 25\u003c\/p\u003e \u003cp\u003eResisting the urge to rush 25\u003c\/p\u003e \u003cp\u003ePausing for power 27\u003c\/p\u003e \u003cp\u003ePaying attention to line-endings 28\u003c\/p\u003e \u003cp\u003eTreating white space as time 29\u003c\/p\u003e \u003cp\u003eDoing it more than once 31\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3: Identifying Subject, Tone, and Narrative 33\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Subject and Tone 34\u003c\/p\u003e \u003cp\u003eSubject: A natural starting point 34\u003c\/p\u003e \u003cp\u003eTone: It’s got attitude 35\u003c\/p\u003e \u003cp\u003eReading for subject and tone 38\u003c\/p\u003e \u003cp\u003eFiguring Out a Poem’s Narrative 39\u003c\/p\u003e \u003cp\u003eSpeaker: The person we’re listening to 39\u003c\/p\u003e \u003cp\u003eSetting: Knowing where you are 41\u003c\/p\u003e \u003cp\u003eSituation: Circumstances and their victims 42\u003c\/p\u003e \u003cp\u003ePlot: What goes on 42\u003c\/p\u003e \u003cp\u003eCharacter: What kind of person would do a thing like that? 42\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4: Tuning in to Language 45\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Figurative Language 46\u003c\/p\u003e \u003cp\u003eOpening the Poet’s Figurative Toolbox 48\u003c\/p\u003e \u003cp\u003eSymbols: When A stands for B, which brings in C 48\u003c\/p\u003e \u003cp\u003eSimiles: My love is like a can of tuna 52\u003c\/p\u003e \u003cp\u003eMetaphors: My love is a can of tuna 53\u003c\/p\u003e \u003cp\u003eAllusions: If you know, you know 55\u003c\/p\u003e \u003cp\u003eMusic: What You Hear, Feel, and See 56\u003c\/p\u003e \u003cp\u003eOrchestrating sound 57\u003c\/p\u003e \u003cp\u003eRecognizing the varieties of rhyme 59\u003c\/p\u003e \u003cp\u003eFeeling rhythm and measuring meter 61\u003c\/p\u003e \u003cp\u003eShape and flow: Visual rhythm 65\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5: Practicing the Art of Interpretation 67\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eReading for Discovery 68\u003c\/p\u003e \u003cp\u003eSense: Getting direct and literal 68\u003c\/p\u003e \u003cp\u003eMusic: Sounds and rhythms that lead to meaning 73\u003c\/p\u003e \u003cp\u003eSpeculating as You Read 77\u003c\/p\u003e \u003cp\u003eMastering Speculation 78\u003c\/p\u003e \u003cp\u003eUnderstanding the literal 79\u003c\/p\u003e \u003cp\u003eGetting at what’s implied 80\u003c\/p\u003e \u003cp\u003eSpeculating about what’s implied 80\u003c\/p\u003e \u003cp\u003eSearching for the Subject 81\u003c\/p\u003e \u003cp\u003eTuning In to Tone 82\u003c\/p\u003e \u003cp\u003eBeing Alive to Language 83\u003c\/p\u003e \u003cp\u003eFollowing the Music 83\u003c\/p\u003e \u003cp\u003eConsidering Narrative Elements 85\u003c\/p\u003e \u003cp\u003eInterpreting “The Knot” by Susan Stewart 87\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 2: An Intelligent Hustle Through Poetic History 89\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6: Connecting with Poems from the Past 91\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGathering the Tools You Need 92\u003c\/p\u003e \u003cp\u003eUnderstanding Older Poetry 93\u003c\/p\u003e \u003cp\u003eMeeting the poet 93\u003c\/p\u003e \u003cp\u003eDiscovering the poet’s life and times 95\u003c\/p\u003e \u003cp\u003eMastering unfamiliar language 98\u003c\/p\u003e \u003cp\u003eReading Older Poetry: Three Basics 102\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7: From Enheduanna to the Golden Ages 105\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Pre-Homeric Period (3000 bc–1000 bc) 106\u003c\/p\u003e \u003cp\u003eMesopotamian poetry 106\u003c\/p\u003e \u003cp\u003eEgyptian poetry 107\u003c\/p\u003e \u003cp\u003eThe beginnings of poetry in India 107\u003c\/p\u003e \u003cp\u003eThe Biblical and Homeric Periods (1000 bc–400 bc) 110\u003c\/p\u003e \u003cp\u003eBiblical poetry 110\u003c\/p\u003e \u003cp\u003eHomeric poetry 111\u003c\/p\u003e \u003cp\u003eThe beginnings of Chinese poetry 113\u003c\/p\u003e \u003cp\u003eThe Archaic and Classical Periods (750 bc–ad 476) 113\u003c\/p\u003e \u003cp\u003eGreek poetry 113\u003c\/p\u003e \u003cp\u003eLatin poetry 115\u003c\/p\u003e \u003cp\u003eLate Antiquity and Golden Ages (ad 476–1000) 116\u003c\/p\u003e \u003cp\u003eThe Manyoshu and Japanese poetry 116\u003c\/p\u003e \u003cp\u003eThe poetry of India 117\u003c\/p\u003e \u003cp\u003eArabic poetry 117\u003c\/p\u003e \u003cp\u003eChina: The T’ang Dynasty 118\u003c\/p\u003e \u003cp\u003eOld English 119\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8: The Middle Ages through the 18th Century 121\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePoetry of the Middle Ages (1000–1450) 122\u003c\/p\u003e \u003cp\u003eArabic and Persian verse — and the Rūmī supernova 123\u003c\/p\u003e \u003cp\u003eChinese and Japanese poetry 126\u003c\/p\u003e \u003cp\u003eThe European Renaissance (1450–1674) 127\u003c\/p\u003e \u003cp\u003eThe English Renaissance 127\u003c\/p\u003e \u003cp\u003ePoetry on three continents 127\u003c\/p\u003e \u003cp\u003eThe 18th Century 129\u003c\/p\u003e \u003cp\u003eReason, science, and a changing world: The English Enlightenment 129\u003c\/p\u003e \u003cp\u003eJapan: The haiku tradition continues 130\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9: Poetry During the Industrial Revolution 131\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Romantic Period 131\u003c\/p\u003e \u003cp\u003eThe Victorian Period 134\u003c\/p\u003e \u003cp\u003eThe Symbolist movement 135\u003c\/p\u003e \u003cp\u003eAmerican poetry: Whitman and Dickinson 136\u003c\/p\u003e \u003cp\u003eShiki and the New Style in Japan 138\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10: The Century of Poetry 139\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Modern Era (1901–1945) 140\u003c\/p\u003e \u003cp\u003eRabindranath Tagore 140\u003c\/p\u003e \u003cp\u003eWilliam Butler Yeats 141\u003c\/p\u003e \u003cp\u003eEzra Pound 142\u003c\/p\u003e \u003cp\u003eHilda Doolittle 143\u003c\/p\u003e \u003cp\u003eMarianne Moore 143\u003c\/p\u003e \u003cp\u003eT.S Eliot 144\u003c\/p\u003e \u003cp\u003eMarina Tsvetaeva 145\u003c\/p\u003e \u003cp\u003eAndré Breton 146\u003c\/p\u003e \u003cp\u003ePablo Neruda 146\u003c\/p\u003e \u003cp\u003eLéopold Sédar Senghor 147\u003c\/p\u003e \u003cp\u003eThe Postmodern Era (1945–1989) 148\u003c\/p\u003e \u003cp\u003ePoetry from the Spanish-speaking world 151\u003c\/p\u003e \u003cp\u003eWomen’s voices 153\u003c\/p\u003e \u003cp\u003eExperimental poetry 154\u003c\/p\u003e \u003cp\u003ePerformance poetry 157\u003c\/p\u003e \u003cp\u003eThe Global Era (1989–2001) 160\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11: Poetry in the Digital Age. 163\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eNew Voices and Viewpoints 164\u003c\/p\u003e \u003cp\u003eCollaborative Poetry 165\u003c\/p\u003e \u003cp\u003ePoetry and the Other Arts 166\u003c\/p\u003e \u003cp\u003eTranslation 166\u003c\/p\u003e \u003cp\u003eNew and Old Forms 167\u003c\/p\u003e \u003cp\u003eChill subs and Other Poetry Communities Online 169\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 3: Writing Poetry and Finding Community 173\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12: Calling the Muse 175\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eHow to Live If You Want to Be a Poet 176\u003c\/p\u003e \u003cp\u003eReading Like a Poet 176\u003c\/p\u003e \u003cp\u003eWriting Like a Poet 177\u003c\/p\u003e \u003cp\u003eFinding the right time and place to write 177\u003c\/p\u003e \u003cp\u003eRecognizing the creative urge 179\u003c\/p\u003e \u003cp\u003eEmpty page, full imagination: Getting started 180\u003c\/p\u003e \u003cp\u003eKeeping a journal (again!) 181\u003c\/p\u003e \u003cp\u003eMoving from journal entry to poem 182\u003c\/p\u003e \u003cp\u003eChoosing subjects 185\u003c\/p\u003e \u003cp\u003eRewriting until it hurts a lot better 186\u003c\/p\u003e \u003cp\u003eFrom “City Bus” to “City Bus”: A case study in revision 187\u003c\/p\u003e \u003cp\u003eGetting Connected to the World of Poetry 190\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 13: Working with Traditional Forms of Verse 193\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eBallads 194\u003c\/p\u003e \u003cp\u003ePsalms 195\u003c\/p\u003e \u003cp\u003eSonnets 196\u003c\/p\u003e \u003cp\u003eGhazals 200\u003c\/p\u003e \u003cp\u003eHaiku and Tanka 201\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 14: Writing Open-Form Poetry 203\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eWorking Toward a Definition 203\u003c\/p\u003e \u003cp\u003eWhat open-form poetry is 205\u003c\/p\u003e \u003cp\u003eWhat open-form poetry isn’t 206\u003c\/p\u003e \u003cp\u003eKnowing What Makes It Poetry 206\u003c\/p\u003e \u003cp\u003eUsing Open Forms in Your Own Poetry 209\u003c\/p\u003e \u003cp\u003eGoing for the breath: Framing individual lines 209\u003c\/p\u003e \u003cp\u003eTreating the page as a field 211\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 15: Writing Exercises and Prompts for Poets 217\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMaking Your Journal Your Office 218\u003c\/p\u003e \u003cp\u003eTrying a Journal Exercise 218\u003c\/p\u003e \u003cp\u003eSpotting and Breaking Habits 220\u003c\/p\u003e \u003cp\u003eUsing Description 221\u003c\/p\u003e \u003cp\u003eUnleashing Divergent Thinking 221\u003c\/p\u003e \u003cp\u003eMining descriptive texts to find your own way of writing 222\u003c\/p\u003e \u003cp\u003eExperimenting with different forms 222\u003c\/p\u003e \u003cp\u003eStarting with a prose essay 222\u003c\/p\u003e \u003cp\u003eRewriting well-known texts 222\u003c\/p\u003e \u003cp\u003ePulling from a grab-bag of ideas 223\u003c\/p\u003e \u003cp\u003eUsing techniques of chance and collage 223\u003c\/p\u003e \u003cp\u003eMistranslating (on purpose) 224\u003c\/p\u003e \u003cp\u003eThinking about transitions 225\u003c\/p\u003e \u003cp\u003eGetting ideas by taking a walk 225\u003c\/p\u003e \u003cp\u003eUsing language from one subject to write about another 226\u003c\/p\u003e \u003cp\u003eFrom Poems for the Writing: Three Prompts, Poems, and Processes 226\u003c\/p\u003e \u003cp\u003e“The unanswerable letter”; Response by Karen Chase 226\u003c\/p\u003e \u003cp\u003e“Bibliomancy”; Response by Luray Gross 228\u003c\/p\u003e \u003cp\u003e“Fibonacci Poem”: Response by Don Riggs 231\u003c\/p\u003e \u003cp\u003eRevising Your Poetry 232\u003c\/p\u003e \u003cp\u003eHiding half of your poem from sight 232\u003c\/p\u003e \u003cp\u003eReworking poems you don’t like 233\u003c\/p\u003e \u003cp\u003eCollaborating with Other Writers 233\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 16: Going Public 235\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eStarting a Reading or Writing Group 235\u003c\/p\u003e \u003cp\u003eGetting started 236\u003c\/p\u003e \u003cp\u003eDiscovering ways to spend your meetings 236\u003c\/p\u003e \u003cp\u003eReading Your Poetry in Public 237\u003c\/p\u003e \u003cp\u003eReadings for everybody 238\u003c\/p\u003e \u003cp\u003eOpen mics 242\u003c\/p\u003e \u003cp\u003ePoetry slams 243\u003c\/p\u003e \u003cp\u003eParticipating in Your Local Poetry Community: Good Old Analog! 245\u003c\/p\u003e \u003cp\u003eBeing an Entrepreneurial Poet 248\u003c\/p\u003e \u003cp\u003eEyeballs and ears 248\u003c\/p\u003e \u003cp\u003eThe post-Pandemic poetry world 252\u003c\/p\u003e \u003cp\u003eFinding Resources and Community 256\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 17: Getting Published 259\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSubmitting Your Poetry to Lit Mags 260\u003c\/p\u003e \u003cp\u003eKnowing when you’re ready 260\u003c\/p\u003e \u003cp\u003eFollowing the Poetry For Dummies action plan for poetry market research 262\u003c\/p\u003e \u003cp\u003eSubmitting your poetry 271\u003c\/p\u003e \u003cp\u003eKeeping a submissions journal 276\u003c\/p\u003e \u003cp\u003ePursuing Other Kinds of Publication 277\u003c\/p\u003e \u003cp\u003eCollections and contests 278\u003c\/p\u003e \u003cp\u003eChapbooks, pamphlets, and broadsides 278\u003c\/p\u003e \u003cp\u003eSelf-publishing in print 279\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 4: the Part of Tens 285\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 18: Ten Poems Worth Memorizing 287\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 19: Ten Love Poems 295\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 5: Appendixes 303\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAppendix A: Glossary 305\u003c\/p\u003e \u003cp\u003eAppendix B: The Poetry For Dummies Reading List 315\u003c\/p\u003e \u003cp\u003eThe Pre-Homeric Period 316\u003c\/p\u003e \u003cp\u003eThe Biblical Period 316\u003c\/p\u003e \u003cp\u003eThe Archaic and Classical Periods 316\u003c\/p\u003e \u003cp\u003eLate Antiquity and Golden Ages 317\u003c\/p\u003e \u003cp\u003eThe Middle Ages 317\u003c\/p\u003e \u003cp\u003eThe Renaissance 318\u003c\/p\u003e \u003cp\u003eThe Enlightenment and the Eighteenth Century 319\u003c\/p\u003e \u003cp\u003eRomantic Poetry, the Victorian Period, Symbolism, and Whitman and Dickinson 319\u003c\/p\u003e \u003cp\u003eThe Modern Era 320\u003c\/p\u003e \u003cp\u003ePostmodernism 320\u003c\/p\u003e \u003cp\u003eThe Global Era 321\u003c\/p\u003e \u003cp\u003eThe Digital Era 321\u003c\/p\u003e \u003cp\u003eModern and Contemporary Poetry 322\u003c\/p\u003e \u003cp\u003ePermissions 323\u003c\/p\u003e \u003cp\u003eIndex 331\u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eSubject Areas: Literature: history \u0026amp; criticism [\u003ca title=\"See our other books on Literature: history \u0026amp; criticism\" href=\"https:\/\/freshlyprintedbooks.co.uk\/search?q=%22Literature:%20history%20\u0026amp;%20criticism%20%5BDS%5D%22\"\u003eDS\u003c\/a\u003e]\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\u003c\/font\u003e","brand":"For Dummies","offers":[{"title":"Brand 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