By Eavan Boland
"Boland deals encouragement to girls poets of the long run. . . . Her brilliant imagery will beguile many."—Publishers Weekly, starred review
These inspiring essays from the prestigious poet Eavan Boland are either serious and deeply own, revealing the journey, ardour, and fight of turning into a girl poet. during this thematic sequel to her vintage Object Lessons, Boland strains her personal stories as a girl, spouse, and mom and their impression on her poetry, and she or he appears to be like to an international the place she will be able to switch the poetic prior in addition to the current.
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Extra resources for A Journey with Two Maps: Becoming a Woman Poet
This change is due both to emerging new media and to new technical developments within given media and can lead to several reactions. To illustrate one of these reactions by yet another example: For the past few decades film has taken over the role of being the most illusionistic medium from literature, be it the novel or the theatre. In this situation, literature, and the experimental fiction of radical high-art postmodernism in particular, can be observed to have reacted to the challenge presented by the overwhelming competition of another medium by abandoning aesthetic illusion altogether – mostly through an over-abundance of metareference as illusion-breaking devices.
Don’t watch. (qtd. Wallace/Taaffe, eds. 1965: 266) Metareference may indeed have its disadvantages and is thus open to serious criticism: it can divert attention from heteroreferential concerns and result in dry self-scrutiny, which may be amusing but can ultimately also be futile. All of this is well-known – not least owing to meta-metareferential self-criticism within metareferential works as in the foregoing poem. Metareference can in fact be no more than one facet of medial works both of the past and the present.
And lastly, there is also a medium such as architecture in which metaization seems to be an altogether recent phenomenon (in particular in postmodernist and post-postmodernist architecture [cf. Keazor 2009]), without having become a dominant for that matter. Seen from a merely intramedial perspective, the particularly minoritarian status of such metaization would hardly encourage one to speak of a metareferential turn in Western architecture, yet owing to the innovative quality of recent metaization within this medium even this minoritarian trend may be regarded as a significant contribution to the overall meta-turn.