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We are offered interpretation after interpretation, without being offered even the rudimentary mechanics of how to “read a poem” suggested in the title, if such a mechanics are even available. The strangeness of this book, however, is of quite another sort. He ends the book with the consideration that poetry is basically an exercise in which we encounter, in the words of Owen Barfield, “in contact with a different kind of consciousness from our own,” which Bloom construes as a sort of cognitive “strangeness.” This definition, while perhaps already glaringly obvious to the serious reader of poetry, has always rung true with me. Do you already know what these words mean? Assuming that you do (I’m guessing that most people who don’t wouldn’t know who Harold Bloom is), the vast majority of this book will be nothing new.īloom does manage to make some interesting points about the roles of allusion and intertextuality in poetry, giving examples of how some poems consciously mimic others stylistically (the scorn he heaps upon the “self-pitying and metrically maladroit” Poe is hilarious). The platform supports representation of information as.

For a large portion of the volume, he reads several poems through the lens of Kenneth Burke’s understanding of the four figurative tropes: irony, synecdoche, metonymy, and metaphor. The Notesmartly App provides productivity tools like task management, notes management, information sharing, collaboration and collection etc. Too sophisticated for a tyro and a mere introduction for anyone that attended sophomore English, Bloom commits the ultimate act of literary hamartia – which, staying true to the Aristotelian spirit of tragedy, he doesn’t realize.īloom begins by noting that poetry is essentially figurative speech, going on to further note (smartly) that prosaic speech is figuration, too, but figuration whose immediacy as such as been lost. While Harold Bloom might be able to artfully expatiate upon the tragic flaws of various and sundry Shakespeare heroes, he commits one of his own here: he hasn’t the faintest idea of his audience.

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