The Art of Syntax: Rhythm of Thought, Rhythm of Song

Ellen Bryant Voigt does an excellent job of disclosing to general readers and technocrats of the written word alike the syntactic smooth operations of a number of popular poems and even some lesser known gems. Her delicious mix of example, theory, and vivid analogies in this edifying discussion of syntax and its contributions to the craft of writing poetry deeply satisfy. Thank you Ellen!

drawing on the subject of music, in a style that is both succint and inspiring, Ms Bryant sheds light on how syntax is an essential component to meaning, texture, rhythm, and sound both in prose and poetry. Excellent, a real pleasure to read!

Bear with me on the title here for a minute. If you spread chunky peanut butter on a piece of bread carefully enough the chunks will make some kind of pattern. If you used that pattern to make a roll for a player piano, it would play a tune. Much of what Ellen Bryant Voight talks about in this dynamic discussion of syntactical rhythms is, in fact, the chunks of syntax that the poet uses and how they are arranged in the poem and, to the extent she can, what effect that has on the rhythm of the poem as a whole.She talks about large and small scale rhythms, about how the voice working with or against that pattern effects the "song" the poem "sings". In order to do this, however, she must, of need, become quite technical, dealing with right branching versus parallel sentences, with delayed predicates, interrupting and slowing phrases, as well as placement of the subject itself. Taking all this in requires careful reading and (at least for me) re-reading. It is best if consideration can be given to alternate possibilities and comparisons of other approaches. It takes a bit of work. Ms. Voight's discussion of the many and varied syntactical tunes sung by Donald Justice in his "For the Suicides" poem is, all by itself however, worth the price of admission and all the effort you can give it.Applying what you learn here may be a challenge, which is, itself, a matter discussed by Ms. Voight in her section dealing with conscious intent of, versus intuitive reactions by, poets in making the syntactical choices they do. At minimum, this little book will allow a more complete understanding of what's going on in the poems you most love and even allow you to appreciate poems you did not before you read it.Again, the 4 star rating, as with Mr. Longenbach's study of lineation, has to do with my purchase of three of these books at the same time and my percieved need to differentiate the ones I really liked from the one (Doty on Description) I loved. Still, highly recommended.

it is difficult to write a critique when you haven't read it. I am on to assume [for the most part} that what is published by a reputable company that it will satisfy the needs.when one has multiple interests and all on going at the time ...one needs to go with the flow of life.I steal minutes from one project to consort with another......it works for me and my work.Life is too complex to stay focused on the headlines of the day which at best, are manipulative...I'd rather do my own manipulating..................................................so...back to work.

A helpful volume that illustrates clear, concise and valuable ways to improve your writing by considering the "musical" qualities of the work. I will be referring to this book often.

A game-changer for anyone writing, reading, or studying poetry. I reread this book and refer back to it frequently.

Useful book.

Not really in depth or succinct enough.