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Erasure poetry, or blackout poetry, is a form of found poetry or found object art created by erasing words from an existing text in prose or verse and framing the result on the page as a poem. [1] The results can be allowed to stand in situ or they can be arranged into lines and/or stanzas .
The poem has inspired a number of musicians, including the American contemporary music ensemble Eighth Blackbird which derived their name from the poem's eighth stanza which makes references to "noble accents/And lucid, inescapable rhythms", and inspired several specific compositions as well:
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"The Wave" is a poem expressing Gruffudd's homesickness as, on board a ship in a Spanish harbour, he awaits favourable weather for his return journey. [8] It is also a cywydd llatai, a love poem in which a non-human messenger is sent to the beloved, [9] in this case one of the massive North Atlantic billows for which the Bay of Biscay is known
China: Jian'an poetry, a poetic movement occurring during the end of the Han dynasty, in the state of Cao Wei. China: Seven Sages of the Bamboo Grove, a group of poets active during the late Cao Wei to early Jin dynasty era, poets incorporating the Wei-Jin Xuanxue movement.
We Real Cool" is a poem written in 1959 by poet Gwendolyn Brooks and published in her 1960 book The Bean Eaters, her third collection of poetry. The poem has been featured on broadsides, re-printed in literature textbooks and is widely studied in literature classes. It is cited as "one of the most celebrated examples of jazz poetry". [1] [2] [3]
A non-exhaustive list of examples includes The Wedding of Sir Gawain and Dame Ragnelle and part of Beves of Hamtoun in six-line tail rhyme stanzas; one version of the Middle English Octavian, in what would go on to be called the "Burns stanza"; Sir Amadace, Sir Gowther Sir Isumbras, The King of Tars and one version of Ipomadon in twelve-line ...
Bluets is a book by American author Maggie Nelson, published by Wave Books in 2009. The work hybridizes several prose and poetry styles as it documents Nelson's multifaceted experience with the color blue, and is often referred to as lyric essay or prose poetry. [1] [2] It was written between 2003 and 2006.