The long poem is a literary genre including all poetry of considerable length.

Though the definition of a long poem is vague and broad, the genre includes some of
the most important poetry ever written.

With more than 220000 (100000 shloka or couplets) verses and about 1.8 million
words in total, the Mahabharata is the longest epic poem in the world.[1] It is
roughly ten times the size of the Iliad and Odyssey combined, roughly five times
longer than Dante's Divine Comedy, and about four times the size of the Ramayana
and Ferdowsi's Shahnameh.

In English, Beowulf and Chaucer's Troilus and Criseyde are among the first
important long poems. The long poem thrived and gained new vitality in the hands of
experimental Modernists in the early 1900s and has continued to evolve through the
21st century.

The long poem has evolved into an umbrella term, encompassing many subgenres,
including epic, verse novel, verse narrative, lyric sequence, lyric series, and
collage/montage.

Contents
1 Definitions
1.1 Length and meaning
2 Purposes
2.1 Tale of the tribe
2.2 Revisionary mythopoesis
2.3 Cultural commentary
3 Concerns and controversies
3.1 Fears of the writer
3.2 Generic conundrums
4 Advantages of the genre
5 Female authors in the genre
6 Genealogy
7 Subgenres
7.1 Epic
7.2 Lyric sequence
7.3 Lyric series
7.4 Collage/Montage
7.5 Verse-narrative
7.6 Romantic long poem
7.7 Meditations
8 See also
9 Notes
10 References
Definitions
Length and meaning
Lynn Keller describes the long poem as being a poem that is simply "book length,"
but perhaps the simplest way to define "long poem" is this: a long poem is long
enough that its bulk carries meaning. Susan Stanford Friedman describes the long
poem as a genre in which all poems that are not considered to be short can be a
considered a part. These overly inclusive definitions, though problematic, serve
the breadth of the long poem, and have fueled its adaptation as a voice for
cultural identity among marginalized persons in Modern and Contemporary poetry.
Only a broad definition can apply to the genre as a whole. In general, a poem is a
"long poem" when its length enhances and expands upon the thematic, creative, and
formal weight of the poem.

Though the term "long poem" may be elusive to define, the term is now finally
getting the attention it deserves. The genre has gained importance both as a
literary form, and as a means of collective expression. Lynn Keller solidifies the
genre's importance in her essay, "Pushing the Limits," by stating that the long
poem will always be recognized as a notable genre of importance in early twentieth-
century American literature.[2]

Purposes
Tale of the tribe
A long poem often functions to tell a "tale of the tribe," or a story that
encompasses a whole culture's values and history. Ezra Pound coined the phrase,
referring to his own long poem The Cantos. The long poem's length and scope can
contain concerns of a magnitude that a shorter poem cannot address. The poet may
see himself or herself as the "bearer of the light," to use Langston Hughes' term,
who leads the journey through a culture's story, or as the one who makes known the
light already within the tribe. The poet may also serve as a poet-prophet with
special insight for their own tribe.

In Modern and Contemporary long poems the "tale of the tribe" has frequently been
retold by culturally, economically, and socially marginalized persons. Thus,
pseudo-epic narratives, such as Derek Walcott's "Omeros," have emerged to occupy
voids where post colonial persons, racially oppressed persons, women, and other
people who have been ignored by classic epics, and denied a voice in the
prestigious genre.

Revisionary mythopoesis
Various poets have undertaken a "revisionary mythopoesis" in the long poem genre.
Since the genre has roots in forms that traditionally exclude poets who have
minimal cultural authority, the long poem can be a "fundamental re-vision," and
function as a discourse for those poets (Friedman). These "re-visions" may include
neglected characters, deflation of traditionally celebrated characters, and a
general reworking of standards set by the literary tradition. This revision is
noted especially by feminist critical work that analyzes how women are given a new
voice and story through the transformation of a previously "masculine" form.

Cultural commentary
Lynn Keller notes that the long poem enabled modernists to include sociological,
anthropological, and historical material. Many long poems deal with history not in
the revisionary sense but as a simple re-telling in order to prove a point. Then
there are those who go a step further and recite a place's or people's history in
order to teach. Like revisionary mythopoesis, they may attempt to make a point or
demonstrate a new perspective by exaggerating or editing certain parts of a
history.

Concerns and controversies

Fears of the writer
Long poem authors sometimes find great difficulty in making the entire poem
coherent and/or deciding on a way to end it or wrap it up. Fear of failure is also
a common concern, that perhaps the poem will not have as great an impact as
intended. Since many long poems take the author's lifetime to complete, this
concern is especially troubling to anyone who attempts the long poem. Ezra Pound is
an example of this dilemma, with his poem The Cantos.[3] As the long poem's roots
lie in the epic, authors of the long poem often feel an intense pressure to make
their long poems the defining literature of the national identity or the shared
identity of a large group of people. The American long poem is under pressure from
its European predecessors, revealing a special variety of this anxiety. Walt
Whitman tried to achieve this idea of characterizing the American identity in Song
of Myself. Thus, when the author feels that their work fails to reach such a
caliber or catalyze a change within the intended audience, they might consider the
poem a failure as a whole.
Poets attempting to write a long poem often struggle to find the right form or
combination of forms to use. Since the long poem itself cannot be strictly defined
by one certain form, a challenge lies in choosing the most effective form.[4]

Generic conundrums
Inclusivity

The long poem has been considered a problematic genre for women writers. Its roots
in epic make the genre appear to be non-inclusive of female writers. This is due to
the epic's long history of being primarily a realm of writing for men.[5]

Lyric intensity

Some critics, most emphatically Edgar Allan Poe, consider poetry as a whole to be
more closely tied to the lyric. They complain that the emotional intensity involved
within a lyric is impossible to maintain in the length of the long poem, thus
rendering the long poem impossible or inherently a failure.[6]

In his article "The long poem: sequence or consequence?" Ted Weiss quotes a passage
from M. L. Rozenthal and Sally M. Gall's "The Modern Poetic Sequence" inspired by
Poe's sentiments, "What we term a long poem is, in fact, merely a succession of
brief ones.... It is needless to demonstrate that a poem is such, only inasmuch as
it intensely excites, by elevating, the soul; and all intense excitements are,
through a psychal-necessity, brief. For this reason, at least one half of the
Paradise Lost is essentially prose�a succession of poetical excitements
interspersed, inevitably,with corresponding depressions�the whole being deprived,
through the extremities of its length, of the vastly important artistic element,
totality, or unity, of effect. In short, a poem to be truly a poem should not
exceed a half hour's reading. In any case, no unified long poem is possible."[7]

Multivocality

One genre theory claims that once a poem takes on multiple voices, it becomes a
novel. Many long poems do make use of multiple voices, while still maintaining all
the element of a poem, and therefore cause even more confusion when trying to
define their genre.[citation needed]

Naming and subgenres

Critic Lynn Keller also expresses concerns about the genre in her essay "Pushing
the Limits." Keller states that because of the debate over and prevalence of
subgenres and forms within the overarching genre of long poem, critics and readers
tend to choose one subgenre, typically the epic form, as being the "authentic"
representative form of the genre. Therefore, this causes the other equally
important subgenres to be subject to criticism for not adhering to the more
"authentic" form of long poem.[8] Other critics of the long poem sometimes hold the
belief that with long poems, there is no "middle ground." They view long poems as
ultimately being either epics or lyrics.[citation needed]

Many critics refer to the long poem by various adjective-filled subgenre names that
often are made of various components found within the poem. These can lead to
confusion about what a long poem is exactly. Below you will find a list describing
the most common (and agreed upon) subgenre categories.[3]

Advantages of the genre

This article needs additional citations for verification. Please help improve this
article by adding citations to reliable sources. Unsourced material may be
challenged and removed. (June 2009) (Learn how and when to remove this template
message)
The long poem genre has several advantages over prose and strictly lyric poetry.
The most obvious difference between the long poem and other literary genres is the
sheer difficulty of composing a long work entirely in verse. Poets who undertake
the long poem face the serious problem of creating a work that is consistently
poetic, sometimes taking strict forms and carrying them through the whole poem.
However, the poets who do choose the long poem turn this liability into an
advantage�if a poet can write a long poem, they prove themselves to be worthy. The
very difficulty gives the genre an implicit prestige. Long poems have been among
the most influential texts in the world since Homer. By writing a long poem, a poet
participates in this tradition and must prove their virtuosity by living up to the
tradition. As discussed below, the traditionally difficult long poem's prestige can
be revised to serve radical purposes.

Additional benefits of the long poem:

The long poem provides the artist with a greater space to create great meaning.
A long poem allows the author to be encyclopedic in their treatment of the world,
as opposed to the potentially narrow focus of the lyric.
A long poem poet can work on a long poem their entire life, weaving in their
impressions gleaned from the span of several generations (and historical events);
it can be an ongoing work.
A long poem can encapsulate not just traditional poetry, but incorporate dialogue,
prose passages, and even scripting.
A reader can absorb an entire world view from a long poem.
Female authors in the genre
Critic Lynn Keller voices the concerns of female poets writing within the genre of
the long poem. In her essay "Pushing the Limits", she discusses the long poem in
regards to its female contributors, a group often forgotten or marginalized in
favor of the more privileged white male author. Not only does Keller discuss women
and their place in the authorship of the long poem, but she also talks about the
tendency of the genre to forget authors who are not white and male, therefore
leaving out minority writers, foreign writers, and writers of different sexual
orientation.[8]

Keller explains the long poem as being a "generic hybrid".[9] By this, Keller means
that the form, in large part because of its indefinable nature, gives authors
creative leeway to mold and form the genre of long poem to fit their creative
needs. The long poem's flexibility should not only be open to include women and
minority writers, but should be a haven in which these writers can use their
writing to voice their identity, a primary topic for the long poem genre.

As stated above in "Concerns and Controversies", many female writers have felt that
they have no place within the long poem genre because of its epic roots. The epic
is a historically masculine genre and has not welcomed female writers or other
authors who are not male and white. The long poem is often understood as the epic
reborn, making it seem like a genre inaccessible to women. Women who did
participate within the long poem and epic forms were often highly criticized or
overlooked until recently, as there has been increasing interest in such authors as
H.D.

Keller also discusses a primary critic of the long poem, Kamboureli, in her essay.
Kamboureli's stance is that long poem's readers and contributors should not
preference one form of long poem over another. To extend this idea, it is also
equally important to say that one type of author within this genre should not be
privileged over another. The textual "betweeness", an idea coined by Kamboureli and
discussed in Keller's essay, provides a place where writers can create their art in
a genre that is by its nature less restrictive than other poetic forms. This lack
of restriction should be the very reason that the genre should be open to all. Its
hybridisms and variety will only be enhanced by the presence of women and other
writers.

Keller states that this new perspective on long poem and reexamination of forgotten
long poems has revived the form as a realm of possibilities for upcoming female
writers. Female writers are seeing the long poem as a genre that should not only be
open and inclusive to them, but also as a genre that theoretically could benefit
the female writer as much if not more than the male writers the form previously
favored. Women writers are now able to combat the "dominant traditions" at play
within the long poem genre to mold the genre into their own, creating what critic
Susan Friedman terms a "re-vision" of the form.

Elizabeth Barrett Browning was one of the first female authors to attempt an epic
poem.[citation needed] In her article "Written in blood: the art of mothering epic
in the poetry of Elizabeth Barrett Browning", Olivia Gatti Taylor explores
Browning's attempt to write an authentically feminine epic poem titled Aurora
Leigh. Taylor posits that Browning began this process with the structure of her
poem, "While earlier epics like the Aeneid and Paradise Lost have twelve books,
Aurora Leigh was conceived as a nine-book epic; thus, the very structure of the
work reveals its gestational nature. According to Sandra Donaldson, Barrett
Browning's own experience at age forty-three of "giving birth and nurturing a
child" greatly influenced her poetry "for the better", deepening her "sensitivity".

Genealogy
The most important "parent genre" to the long poem is the epic. As stated on the
page of the main article on the epic, "An epic is a lengthy, revered narrative
poem, ordinarily concerning a serious subject containing details of heroic deeds
and events significant to a culture or nation." The term "long poem" includes all
the generic expectations of epic and the reactions against those expectations. Many
long poem subgenres share characteristics with the epic, including: telling the
tale of a tribe or a nation, quests, history (either recitation or re-telling in
order to learn from the past), a hero figure, or prophecies.

Other subgenres of the long poem include lyric sequence, series, collage, and
verse-novel. What unites each of these subgenres under the heading of long poem is
that their length has importance in their meaning. Each subgenre, however, is
unique in its style, manner of composition, voice, narration, and proximity to
outside genres.

Sequence poetry uses the chronological linking of poems to construct meaning, as

each lyric builds on the poems previous to it. Examples include Louise Gl�ck's The
Wild Iris, and older sonnet cycles, such as Sir Philip Sidney's Astrophel and
Stella or Dante's Vita Nuova. Serial lyrics similarly depend on the juxtaposition
and dialogue between individual lyrics to build a greater depth of meaning.
Narrative poems rely heavily on

Often, these subgenres are blended, blurred or overlapped to create second-

generation subgenres. The blurring between the lines of the subgenres is what makes
the long poem so hard to define, but it also marks the growing creativity in the
use of the form.

Subgenres
Epic

The first page of the Beowulf manuscript. Beowulf was one of the first long poems
in English.
Critic Joseph Conte describes the epic as a long poem that "has to have grand voice
and purpose. . . it has to say something big."[10] Lynn Keller describes one of the
epic's aspects as including a "quasi-circular quest-journey structure" that she
says is present in the long poem Song of Myself by Whitman. Yet that long poem,
Keller notes, does not have a "specified end toward which the poem or speaker is
directed," unlike a more traditional long poem. Though long poems do have roots in
the epic form, that does not mean long poems that are epic-like are completely
epic. A second example of long poems distancing themselves from the traditional
epic form is seen in Helen In Egypt by H.D. Though traditional epics feature
physical quests or journeys, Helen In Egypt is about the psychological journey of
Helen.

Other characteristics of the epic include a hero figure, myths, and quests for the
characters. Many such characteristics are seen in various long poems, but with some
changes. For example, Helen In Egypt brings mythic revision, or revisionary
mythopoesis, into play. Even though it includes the myth from the epic, the revised
telling of the myth makes the long poem stand out as its own form. Additionally,
one cannot look at the epic as a single, unified form of inspiration for long
poems. As Keller points out, certain long poems can have roots in very specific
epics instead of the overall epic category.

The long poem Omeros by Derek Walcott has drawn mixed criticism on whether it
should or should not be tied to the traditional epic form. Those against that idea
say that the poem's story is not as important as those found in traditional epics.
Omeros tells the tale of fishermen in the Caribbean fighting over and lusting after
a waitress instead of a typically heroic tale of battles and quests. On the other
side of the argument lies the point that it is important to keep in mind that
Omeros has ties to the epic genre, if only as a contrast. By putting more simple
characters in the forefront as opposed to warriors, Walcott revises the traditional
epic form, which these critics say is something to notice as opposed to cutting off
Omeros from any ties to the epic whatsoever. Furthermore, these critics say that
one cannot ignore the epic influence on the poem since its characters' names are
taken from Homer. In Omeros there are distinct elements obviously influenced by
traditional epics, such as a trip to the underworld, talk of a muse, etc.

In interviews, Walcott has both affirmed and denied that Omeros is tied to the epic
form. In one interview he stated that it was a type of epic poem, but in another
interview he said the opposite, stating as part of his evidence that there are no
epic-like battles in his poem. In Omeros Walcott implies that he has never read
Homer, which is probably untrue based on the character names derived from Homer.
Walcott's denial of his poem being tied too heavily to the epic form may stem from
his concern that people might only think of it as being an epic-influenced poem
instead of transcending the epic genre.

Based on this criticism of Omeros it is clear that the generic identity of a long
poem greatly contributes to its meaning. Because long poems are influenced by many
more strictly defined genres, a long poem revising strict generic rules creates
striking contrast with epic-genre expectations.

Keller also notes that she agrees with critic Susan Friedman when Friedman
expresses her concern that the long poem associated with the epic has been "the
quintessential male territory whose boundaries enforce women's status as outsiders
on the landscape of poetry." Considering that there are many long poem authors that
are women, one cannot fully associate the long poem with the epic genre.

However, the typical exclusion of women in the epic tradition is for many female
authors what makes the long poem an appealing form for laying cultural claim to the
epic.

Control of or at least inclusion in the creation of a cultural epic is important

because the traditional epic poem like The Odyssey or Virgil�s Aeneid is, at its
core, a written history. Written history defines the good and the bad of a culture,
the winners and losers, and the author of that history controls the very future by
manipulating the knowledge of later generations. For Friedman to deny epic
associations to the long poem because they are sometimes written by women is to
counter the efforts of many female long poets.

If the long poem is considered an epic or invokes an epic in its length as many
critics and readers aver then breaching its traditional exclusivity by using the
epic to tell the story of marginalized peoples such as women rather than the
victors is essentially an opportunity for the poet to rewrite history. Walcott�s
Omeros is an excellent example of a long poem recording the untold history of a
marginalized people.

Likewise H.D.�s revision of the story of Helen of Troy in Helen is an attempt to

exonerate women from the blame of the Trojan War. In this sense, form inexorably
serves the function and meaning of the poem by indicating to the reader that the
poem is, if not an epic, epic-like and therefore a history. For some female authors
using the well known form of an epic is a way to legitimize their stories, but by
slightly altering the epic tradition they also indicate that the traditional way is
unacceptable and insufficient for their purposes. Embodying the modernist dilemma,
the long poem as epic often contains the seeming belief in the futility of
tradition and history paired with the obvious dependence on them.

Lyric sequence
A lyric sequence is a collection of shorter lyric poems that interact to create a
coherent, larger meaning. The lyric sequence often includes poems unified by a
theme. A defining characteristic of this subgenre is that each lyric enhances the
meaning of the other lyrics in the work, creating an enhanced collective metaphor,
that opens the lyric sequence to unique adaptations of dialogue and other
narrative/theatrical characteristics.

Critic Lynn Keller lends some insight to the lyric sequence by placing it in
opposition to the epic: �At the opposite end of the critical spectrum are the
treatments of the long poem that do not consider issues of quest, hero, community,
nation, history and the like, and instead regard the form as essentially lyric.

Lyric series
The lyric series is a genre of poetry in which the seriality of short (but
connective) lyric poems enhances the long poem's meaning. Seriality may contribute
narrative coherence or thematic development, and it is often read in terms of the
poem's productive process, i.e. how the poem "produces its own
experience"(Shoptaw). Each lyric poem is distinct and has meaning in itself, yet it
functions as an integral part of the series, giving it a greater meaning as within
the long poem as well.

Deborah Sinnreich-Levi and Ian Laurie examine the work of Oton de Grandson in the
lyric series, or "ballad series" form. Grandson wrote several sets of short love
lyrics, using the series form for narrative coherence and thematic construction, as
well as to examine different aspects of a single narrative. George Oppen's Discrete
Series relates its poetic seriality to the mathematic concept of a discrete series.
Langston Hughes' Montage of a Dream Deferred qualifies as a serial lyric as well as
a montage.

Collage/Montage
The best-known and most highly regarded example of a collage long poem is T. S.
Eliot's The Waste Land. Critic Philip Cohen describes Eliot's use of the collage in
his article "The Waste Land, 1921: Some Developments of the Manuscript's Verse":

"Eliot gradually created a more modernist poem, one which resembles a cubist
collage: satiric narratives were abandoned in favor of first of dramatic poetry and
then of a bold amalgamation of genres. The speakers shifted from omniscient
narrators to a variety of separate-person voices and then to different voices of
one shadowy character."[citation needed]

The collage combines seemingly disparate parts or "fragments" of different voices,

pieces of mythology, popular song, speeches, and other utterances in an attempt to
create a somewhat cohesive whole.[citation needed]

The best known Bengali long poem is JAKHAM (The Wound) written by Malay Roy
Choudhury of India during the famous Hungryalist movement in 1960s.

A montage is similar to a collage in that it consists of many voices, most famously

portrayed in Langston Hughes' Montage of a Dream Deferred. The poet provides a
comprehensive portrait of 20th century Harlem through the use of numerous different
voices and thus creates a cohesive whole through this fragmentary lens.

What is perhaps the most debatable characteristic of this collage/montage form is

the question of what is added to the message or content of the poem by using a more
fragmented view. This debate is clearly visible within Langston Hughes' Montage in
the question of who the primary voice belongs to and what is added by having Harlem
shown through multiple people, as opposed to Hughes simply speaking from his own
understanding of what makes Harlem.

Verse-narrative
A verse narrative, as one might expect, is simply a narrative poem, a poem that
tells a story. What is interesting about this subgenre is that owing to its place
in the flexible category of long poem, the verse-narrative may have disrupted
convention by telling its story in both poem and narrative. This combination
broadens the scope of both genres, lending the poem's depth that may be lacking in
the other subgenres, yet also a lyrical voice that defines it as poetry. For an
example of this, one might turn to Gilgamesh, which encompasses both the subgenres
Epic and Verse-Narrative.

As one of the main subgenres, Verse-Narrative gets the least attention because it
so effortlessly overlaps the other subgenres. It does not necessarily have the
components of an Epic, nor the lyricism and shifting scope of a Lyric Sequence or a
Lyric Series, nor the close relation to narrative of Verse Novel. It exists for
critics generally as an accepted part of the long poem Tradition.

The Greek poet Vasileios Vasileiadis(1958-) with his two long poems <Blind to see
the Darkness> and <Point Zero> is an example for the Verse-Narrative long poetry.

Romantic long poem

The critic Lilach Lachman describes the Romantic long poem as one that, "questioned
the coherence of the conventional epic's plot, its logic of time and space, and its
laws of interconnecting the narrative through action." Examples of the Romantic
long poem is Keats' long poem Hyperion: A Fragment (1820), William Wordsworth's
Recluse (Including the Prelude (1850), and The Excursion), and Percy Bysshe
Shelley's Prometheus Unbound.

The Romance long poem contains many of the same components of the Romance Lyric.
Michael O'Neil suggests that "much romantic poetry is torn out of its own despair"
and, in fact, can exist as the tremulous fusion between "self-trust and self-
doubt."

Meditations
Meditations are reflective thought poems. Like the Montage and the Series
subgenres, Meditations can be somewhat fragmented, yet their connectivity is what
makes the long poem a coherent and cohesive idea. This subgenre is based on
meditations (or thoughts). Wallace Stevens believes, as do other writers in this
genre, that the work does not rely on the use of multiple voices.

In her essay "The Twentieth Century Long Poem," Lynn Keller states that a more
philosophical influence on these meditative long poems deals with relating
imagination to reality, specifically in long poems by Wallace Stevens. Keller
notes, "Uninterested in American landscape, American history, modern mechanical
triumphs, or the urban scene, his process-oriented long poems are speculative
philosophical works exploring the relation of imagination to reality and the
imagination's role in compensating for the loss of religious belief."

W. H. Auden's New Year Letter is an example of a long-form meditative poem.

See also
List of long poems in English
Notes
Spodek, Howard. Richard Mason. The World's History. Pearson Education: 2006, New
Jersey. 224, 0-13-177318-6
Keller 1997, p. 1
Keller 1993
Miller 1979
Friedman 1990
Poe 1850
Weiss 1993
Keller 1997, p. ???
Keller 1997, p. ??
Conte 1992, p. ??
References
Conte, Joseph (Spring�Fall 1992), "Seriality and the Contemporary Long Poem",
Sagetrieb (11): 35�45.
Friedman. �When a �Long� Poem Is a �Big� Poem: Self Authorizing Strategies in
Women�s Twentieth-Century �Long Poems.�� LIT 2 (1990): 9-25.
Friedman, Susan Stanford. ��Born of One Mother:� Re-Vision of Patriarchal
Tradition.� Psyche Reborn: The Emergence of H.D. Bloomington: Indiana U. Press,
1981. 253-272.
Jung, Sandro (Spring 2007), "Epic, Ode, or Something New: The Blending of Genres in
Thomson's "Spring"", Papers on Language & Literature, 43 (2): 146�165, retrieved
2008-04-01.
Keller, Lynn (1997), "Pushing the Limits of Genre and Gender: Women's Long Poems as
Forms of Expansion", Forms of Expansion: Recent Long Poems by Women, Chicago:
University of Chicago Press.
Keller. �The Twentieth-Century Long Poem,� in Jay Parini, ed. The Columbia History
of American Poetry. New York: Columbia University Press, 1993: 534-563.
Lachman, Lilach. "Keats's Hyperion: Time, Space, and the Long Poem" in Poetics
Today, Vol. 22, No. 1, Spring, 2001, pp. 89�127.
Miller, James E., Jr. "The Care and Feeding of Long Poems: The American Epic from
Barlow to Berryman". The American Quest for a Supreme Fiction: Whitman's Legacy in
the Personal Epic. Chicago: U of Chicago P, 1979.
Murphy, Patrick D. (January 1989), "The Verse Novel: A Modern American Poetic
Genre", College English, National Council of Teachers of English, 51 (1): 57�72,
doi:10.2307/378185, JSTOR 378185.
O'Neill, Michael. "'Driven as in surges': texture and voice in Romantic poetry."
Wordsworth Circle 38.3, Summer 2007), 5-7.
"Oton de Grandson," in 'Dictionary of Literary Biography, Volume 208: Literature of
the French and Occitan Middle Ages: Eleventh to Fifteenth Centuries. A Bruccoli
Clark Layman Book.' Edited by Deborah M. Sinnreich-Levi, Stevens Institute of
Technology and Ian S. Laurie, Flinders University. The Gale Group, 1999, pp.
141�148.
Poe, Edgar Allan, The Poetic Principle.
Shoptaw, John, "Lyric Incorporated: The Serial Object of George Oppen and Langston
Hughes," in Sagetrieb, Vol. 12, No. 3, Winter, 1993, pp. 105�24. Reprinted in
Twentieth-Century Literary Criticism, Vol. 107. Reproduced in Literature Resource
Center.
Taylor, Olivia Gatti. "Written in Blood: The Art of Mothering Epic in the Poetry of
Elizabeth Barrett Browning." Victorian Poetry, 44:2 (2006 Summer), pp. 153�64.
Vickery, Walter N. "Alexander Pushkin", In Twayne's World Authors Series Online New
York: G. K. Hall & Co., 1999 Previously published in print in 1992 by Twayne
Publishers. Source database: Twayne's World Authors.
Weiss, Tedd (July�August 1993), "The long poem: sequence or consequence?", The
American Poetry Review, 22 (4): 37�48.
Categories: Fiction formsNarrative poemsGenres of poetry
Navigation menu
Not logged inTalkContributionsCreate accountLog inArticleTalkReadEditView
historySearch

Search Wikipedia
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version

Languages
Deutsch
Edit links
This page was last edited on 9 April 2018, at 05:24 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License;
additional terms may apply. By using this site, you agree to the Terms of Use and
Privacy Policy. Wikipedia� is a registered trademark of the Wikimedia Foundation,
Inc., a non-profit organization.
Privacy policyAbout WikipediaDisclaimersContact WikipediaDevelopersCookie
statementMobile viewWikimedia Foundation