Andrews - A prosody of free verse: explorations in rhythm

Edited by Michael Burke

1 Literary Reading, Cognition and Emotion

An Exploration of the Oceanic Mind

Michael Burke

2 Language, Ideology and Identity in Serial Killer Narratives

Christiana Gregoriou

3 Beyond Cognitive Metaphor Theory

Perspectives on Literary Metaphor

Monika Fludernik

4 The Pragmatics of Literary Testimony

Authenticity Effects in German Social Autobiographies

Chantelle Warner

5 Analyzing Digital Fiction

Edited by Alice Bell, Astrid Ensslin, and Hans Kristian Rustad

6 Ulysses and the Poetics of Cognition

Patrick Colm Hogan

7 Style and Rhetoric of Short Narrative Fiction

Covert Progressions Behind Overt Plots

Dan Shen

8 Kafkas Cognitive Realism

Emily T. Troscianko

9 Stories, Meaning, and Experience

Narrativity and Enaction

Yanna B. Popova

10 From Conversation to Oral Tradition

A Simplest Systematics for Oral Traditions

Raymond F. Person, Jr.

11 Making Sense of Narrative Text

Situation, Repetition, and Picturing in the Reading of Short Stories

Michael Toolan

12 A Prosody of Free Verse

Explorations in Rhythm

Richard Andrews

I am most indebted to musicians and composers who have explored rhythms in their music, bringing them to the foreground. Most important, in terms of my own music education, are Igor Stravinsky, Bla Bartk and Pierre Boulez; Miles Davis, Bill Evans and John Coltrane; and Carlos Santana and John McLaughlin. In poetry, Ezra Pound, Octavio Paz, Ted Hughes, Seamus Heaney and Derek Walcott have been the poets I have most looked to for inspiration in twentieth-century free verse practice and theory. In sculpture, Henri Gaudier-Brzeska is the most eloquent.

I am grateful to Gunther Kress, Derek Attridge, Myrrh Domingo and Terry Locke for their comments on the proposal for this book, and to Margo Irvin and Elysse Preposi at Routledge, New York, for their belief in the project. Thanks go to Michael Burke, Christiana Gregoriou and Joe Bray as series editors; to Andrew Weckenmann, senior editorial assistant, and Allie Simmons at Routledge. Behind the book is the thinking of Gunther Kress and Theo van Leeuwen, on social semiotics and multimodality, and especially van Leeuwen, on speech, music and sound. Though I take a different position from him on the description and characterization of free verse rhythms, I acknowledge the debt I owe to his work as a reference point for the exploration of rhythm in the present book. The same could be said of previous work on poetic rhythm by Octavio Paz, Derek Attridge and Nigel Fabb and that of the many excellent poets, linguists and prosodists that have preceded this book. I am particularly indebted to the excellent study by Martin Clayton of rhythm, metre and form in North Indian rg performance which has been richly suggestive of approaches to free verse rhythms. Ann Hutchinson Guest has been helpful in answering my queries about Labanotation. Thanks must also go to the University of York Library and its staff, to Jules Wilkinson and to Carey Jewitt and Sara Price for their support and suggestions.

I am grateful to the following authors, translators, editors and publishers for permission to quote from their work: to Peter Jay for passages from LHiver qui Vient and Solo de Lune from Jules Laforgue, Poems of Jules Laforgue , translated by Peter Dale, Anvil Press (1986; revised edition 2001); to Michelle Healey and Richard Hamburger for passages from Karl Mick-elss Lamento und Gelchter, translated by Ruth and Matthew Mead and Michael Hamburger, and Volker Brauns Landgang, translated by Gordon and Gisela Brotherston, both collected in Michael Hamburger (ed.) East German Poetry: An Anthology , Carcanet Press (1972); to Quentin Huon at Pan Macmillan for permission to quote from Sleeping Out: Full Moon by Rupert Brooke; to Ron Hussey for an excerpt from Anne Sextons The Sun from Live or Die , copyright 1966 by Anne Sexton and reprinted by permission of Houghton Mifflin Harcourt Publishing Company (all rights reserved); and to Christopher Aguirre at Penguin Random House in New York for advice.