Frederick tranter cambridge
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It punches above its weight and undoes both the argument and the poet, who is helpless against his growing emotion for his lover: “Day,” he concludes, “is so deep already with involvement.” the end of the lineĭetermining where a line ends – or breaks – is the art of the poet. An otherwise small and almost insignificant word, “yet” is granted primacy of placement and as such it demands to be taken as central to the poem’s meaning. We can imagine the poet looking down as he completes the image in the next stanza: “upon my arm.” The poem spins on the word “yet” which stands in isolation at the heart of the poem as a single-word line (and stanza). The poet appears to be weighing this ideal of detachment against a dawning attachment to a lover: The poem opens with a statement that “Morning ought not/to be complex” but the sun, the poet observes, has been “cast at dawn into the long/furrow of history”. Michael Dransfield’s “Pas de deaux for Lovers” offers an excellent example. Each line in a poem refracts into additional beginnings and endings inside the sentence, which grants not only heightened significance through emphasis – the start and end of a line are always hotspots – but lines also offers a sense of equivalence in which words and phrases can be weighed, or balanced, against other words and phrases. In prose, a sentence has a single beginning and an end, but set in lines beginnings and endings are abundant. This is not to argue that “burial mound” is the preferred reading in this particular poem, but rather to show how a word, when isolated, can be unmoored from its strict context so that its alternative meanings might come into play.
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The portmanteau “wheelbarrow”, for instance, is cleaved so that we are encouraged to contemplate the word “barrow”, which can refer to not only a cart but also, perhaps, to a burial mound. At a reduced pace meaning opens up and multiplies. The words are experienced not only as signifiers but as objects in themselves. But set in lines, language slows down: each word in the poem is clarified, intensified, and raised in stature. Consider the difference between William Carlos William’s “The Red Wheelbarrow” set as prose – “so much depends upon a red wheel barrow glazed with rain water beside the white chickens” – and the same words set in lines:Īs prose, the sentence moves swiftly so that its essential meaning can be easily grasped. White space and silence frame the poem and alert us to its language. Whenever we see, or more importantly hear, language arranged in lines we know we are entering the gallery of the poem. Thank you so much to our runners who raised this incredible amount for the AKU Society.“The line,” as James Longenbach contends, “is what distinguishes our experience of poetry as poetry”. The funds raised from the half-marathon will go towards our International Patient Workshop later this year in November. He has donated £1,000 to the AKU Society. I am very aware of the challenges and difficulties that AKU patients experience.”Īlso, congratulations to Dave Brown, co founder of Healx, who ran 13.1 miles around his village on Saturday 7th March in support of the AKU Society. Juliette, who is in her final year of a PhD at the University of Liverpool explained why she was running the half-marathon “I have spent the last 3 years studying and researching AKU. Juliette and Rob have raised £923.75 (including GiftAid) – well done! We want to say a massive thank you to Juliette and Rob for travelling down to Cambridge and running the half marathon, raising vital funds for the AKU Society. Juliette commented on people during the race asking what AKU is it was great to hear that more recognition of AKU.