The ‘Novel in Poems’ – An Emerging Genre
A new genre has emerged in contemporary literature: the ‘novel in poems.’ This genre hybridizes the novel and poetry in order to construct characters and a plot through relatively autonomous poems in series. The ‘novel in poems’ appears in different subtypes, which can be categorized according to th...
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Universität Trier
2021
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oai:doaj.org-article:44508e0fc2d244fa88d32784e02b57fd2021-11-19T13:24:26ZThe ‘Novel in Poems’ – An Emerging Genre10.25353/ubtr-izfk-8b42-e6522698-492X2698-4938https://doaj.org/article/44508e0fc2d244fa88d32784e02b57fd2021-04-01T00:00:00Zhttps://izfk.uni-trier.de/index.php/izfk/article/view/IZfK-Vol-2-The-Novel-in-Poems-An-Emerging-Genrehttps://doaj.org/toc/2698-492Xhttps://doaj.org/toc/2698-4938A new genre has emerged in contemporary literature: the ‘novel in poems.’ This genre hybridizes the novel and poetry in order to construct characters and a plot through relatively autonomous poems in series. The ‘novel in poems’ appears in different subtypes, which can be categorized according to the following criteria: (1) the presence of one speaker versus several speakers, (2) the presence of a speaker as lyric protagonist and/or narrator, and (3) the presence of a blend of distinct modes of lyric, narrative, and dramatic representation in various forms of combination. Specific characteristics of the ‘novel in poems’ are: 1) variation of constituent poetic forms with different degrees of semantic autonomy and brevity; 2) hyper-structuring through symmetries, holism, and equivalences; 3) a tendency to differentiate mediating instances within the text; 4) the reduction or elimination of the narrator or of narrative principles and the use of an omnipresent textual subject; 5) the presence of metapoetic reflections on topics such as poetry and creativity; 6) an emphasis on voice, person, and subjectivity; 7) episodic plot construction through montage techniques and a tendency toward chronological order; 8) the predominance of present speech and action; 9) contradictions between the speaker as subject and addresser, via the lyric fiction of performativity, and the function of narration; 10) a necessity imposed upon the reader to reconstruct the plot and characters. This essay establishes three subtypes within the proposed genre: a lyric ‘novel in poems’ with one speaker (Irina Ermakova), a polyphonically narrative ‘novel in poems’ that combines third-person narration with several alterior speakers (Lana Hechtman Ayers), and, finally, a dramatic ‘novel in poems’ with shifting primary speakers (Glyn Maxwell).Henrieke StahlUniversität Trierarticleverse novelpoetry booknovel in poemsirina ermakovalana hechtman ayersglyn maxwellLanguage and LiteraturePDEENInternationale Zeitschrift für Kulturkomparatistik, Vol 2, Pp 87-117 (2021) |
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verse novel poetry book novel in poems irina ermakova lana hechtman ayers glyn maxwell Language and Literature P |
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verse novel poetry book novel in poems irina ermakova lana hechtman ayers glyn maxwell Language and Literature P Henrieke Stahl The ‘Novel in Poems’ – An Emerging Genre |
| description |
A new genre has emerged in contemporary literature: the ‘novel in poems.’ This genre hybridizes the novel and poetry in order to construct characters and a plot through relatively autonomous poems in series. The ‘novel in poems’ appears in different subtypes, which can be categorized according to the following criteria: (1) the presence of one speaker versus several speakers, (2) the presence of a speaker as lyric protagonist and/or narrator, and (3) the presence of a blend of distinct modes of lyric, narrative, and dramatic representation in various forms of combination. Specific characteristics of the ‘novel in poems’ are: 1) variation of constituent poetic forms with different degrees of semantic autonomy and brevity; 2) hyper-structuring through symmetries, holism, and equivalences; 3) a tendency to differentiate mediating instances within the text; 4) the reduction or elimination of the narrator or of narrative principles and the use of an omnipresent textual subject; 5) the presence of metapoetic reflections on topics such as poetry and creativity; 6) an emphasis on voice, person, and subjectivity; 7) episodic plot construction through montage techniques and a tendency toward chronological order; 8) the predominance of present speech and action; 9) contradictions between the speaker as subject and addresser, via the lyric fiction of performativity, and the function of narration; 10) a necessity imposed upon the reader to reconstruct the plot and characters. This essay establishes three subtypes within the proposed genre: a lyric ‘novel in poems’ with one speaker (Irina Ermakova), a polyphonically narrative ‘novel in poems’ that combines third-person narration with several alterior speakers (Lana Hechtman Ayers), and, finally, a dramatic ‘novel in poems’ with shifting primary speakers (Glyn Maxwell). |
| format |
article |
| author |
Henrieke Stahl |
| author_facet |
Henrieke Stahl |
| author_sort |
Henrieke Stahl |
| title |
The ‘Novel in Poems’ – An Emerging Genre |
| title_short |
The ‘Novel in Poems’ – An Emerging Genre |
| title_full |
The ‘Novel in Poems’ – An Emerging Genre |
| title_fullStr |
The ‘Novel in Poems’ – An Emerging Genre |
| title_full_unstemmed |
The ‘Novel in Poems’ – An Emerging Genre |
| title_sort |
‘novel in poems’ – an emerging genre |
| publisher |
Universität Trier |
| publishDate |
2021 |
| url |
https://doaj.org/article/44508e0fc2d244fa88d32784e02b57fd |
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AT henriekestahl thenovelinpoemsanemerginggenre AT henriekestahl novelinpoemsanemerginggenre |
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