Singing School: Learning to Write (and Read) Poetry by Studying with the Masters

by Robert Pinsky

“Magnificent . . . poems to inspire [with] brief and brilliant, offhand notes about how to read them.”―Alan Cheuse, NPR Quick, joyful, and playfully astringent, with surprising comparisons and examples, this collection takes an unconventional approach to the art of poetry. Instead of rules, theories, or recipes, Singing School emphasizes ways to learn from great work: studying magnificent, monumentally enduring poems and how they are made― in terms borrowed from the “singing school” of William Butler Yeats’s “Sailing to Byzantium.” Robert Pinsky’s headnotes for each of the 80 poems and his brief introductions to each section take a writer’s view of specific works: William Carlos Williams’s “Fine Work with Pitch and Copper” for intense verbal music; Emily Dickinson’s “Because I Could Not Stop for Death” for wild imagination in matter-of-fact language; Robert Southwell’s “The Burning Babe” for surrealist aplomb; Wallace Stevens’s “The House Was Quiet and the World Was Calm” for subtlety in meter. Included are poems by Aphra Behn, Allen Ginsberg, George Herbert, John Keats, Mina Loy, Thomas Nashe, and many other master poets. This anthology respects poetry’s mysteries in two senses of the word: techniques of craft and strokes of the inexplicable.

Genres: Poetry, Writing, Nonfiction, Essays, Anthologies, Books About Books, Literature

240 pages, Paperback

First published August 5, 2013

About the author

Robert Pinsky is an American poet, essayist, literary critic, and translator. From 1997 to 2000, he served as Poet Laureate Consultant in Poetry to the Library of Congress. Pinsky is the author of nineteen books, most of which are collections of his own poetry. His published work also includes critically acclaimed translations, including The Inferno of Dante Alighieri and The Separate Notebooks by Czesław Miłosz. He teaches at Boston University and is the poetry editor at Slate.
wikipedia

Reviews

[Scott · Rating 2 out of 5]

Meh. It was really just an anthology with a few comments.

[Jeffrey (Akiva) Savett · Rating 2 out of 5]

I'm sorry. It's possible I just don't "get" Robert Pinsky, but I doubt it. I know his poetry and anthologies are almost universally beloved, but I can't find much to love in either. I'll limit my comments in this review to ones regarding only Singing School.

While the introduction was promising and had me reaching for my highlighter and pen to add excited marginalia, once the book proper began, I was wholly disappointed. For two reasons.

First, Pinksy's analyses of the poems are limited to a pithy sentence or two which serve to highlight some formal element and pose a writing challenge for the reader. Granted, he discusses some of the poems in each chapter introduction, but these go no more than detail and surface deep.

Second, while Pinsky suggests early in the book that he'll be focusing on older works as examples because doing so inhibits imitation and forces aspiring writers to discover essence. Fine. But the poems he selects just don't move me. Yes, they may embody a particular point Pinsky is making but I find it hard to believe those were the "best" he could find. Excerpting INCREDIBLY long passages from these poems also gives the impression of his trying to turn a much slimmer volume into a longer work.

I was inspired to create my own anthology of poems which make me see anew. Maybe that's a good lesson from Singing School.

[Ruth · Rating 4 out of 5]

Pinsky himself admits that this book is his personal collection of poems that exhibit one or more masterful elements of poetry as a craft. I loved his introductory statements to each poem; some invited the reader/poet to try his or her hand at a similar poetic style or varied subject. Some mention the need to look more closely at one stanza or particular wording.

As a reader, I came away impressed not always with the poems included in the collection (as is the case with most anthologies, I loved some and dismissed others that didn't really speak to me)--but also impressed with the desire to create a personal anthology of poems that speak to me. That, at least in part, is a goal of this book. Pinsky wishes the reader to make his or her own poetic anthology and include the "know by heart" choices as well as the "always read aloud" or "hold deeply in your heart" choices.

I am so glad I heard the author speak in person and recite several of the poems in this volume. And I'm happy to add another poetic volume to my shelves.

[Kevin · Rating 5 out of 5]

I think if one reads this book, plus The Sounds of Poetry, plus his selected poems, one gets an advanced degree in the sonics and application of poetry.

[Zane Akers · Rating 4 out of 5]

3.5ish. As an anthology of excellent, important poems, this book is a great success. As a tool for "studying" the art of poetry, there is sadly not too much to recommend it. The depth of Pinsky's knowledge of and exuberance for poetry is obvious throughout, but his skill as a teacher (he's a prof in the graduate writing program at Boston University) fails to come through in most of the material here. There is plenty of geeking out about poetry in his chapter-opening mini-essays and the short head notes, and a couple of half-serious "prompts" sprinkled in, but for a reader who was expecting a less impressionistic, more thorough investigation, I left a little disappointed. The most instructive aspect of this book comes, as stated above, from the impeccable, far-ranging choice of poems that composes it.

[Minam]

read this for class and i think i am understanding western poetry more. one nice thing he does is he gives lots of examples of poems and suggests writing prompts from them based on technique, form, creativity, etc

[Lizze Miller · Rating 3 out of 5]

This book could be better at a slow pace, practicing on the way, and with companions. Which I did not do. Rather I found myself quarreling with Pensky on his interpretations of poems, particularly in his pension for explaining religious poems as erotic, weird or about Freedom.

[Samantha · Rating 2 out of 5]

I've found some of Pinsky's past work helpful in my poetry studies, but this book seemed thrown together for the sake of putting out another book. I don't mind that he selected somewhat less popular poems by certain poets, but many of them don't seem like the best teachable examples (and many of them didn't grab me, stylistically, as much as I expected them to). Additionally, there is barely more than a few sentences of analysis from Pinsky on each poem...sometimes even less. And, while I don't particularly support a hand-holding method when it comes to "teaching" poetry, this could have been a great volume to use in poetry courses if there was more analysis that prompted group discussion.

Overall, this is just a seemingly random anthology of poems not worthy enough, as a whole, to justify a whole book. Even the separate sections are nonsensical, as Pinsky frequently references poems from previous sections in other ones. You also get the feeling he's trying to fill space, as some poems are referenced more than once. Bottom line, if you're looking for Pinsky, go for The Sounds of Poetry, instead.

[Ann · Rating 4 out of 5]

Really enjoyed this one. Pinsky's poetry selections are inspired. Maybe too sophisticated for a novice. For beginning students of poetry, I'd recommend Mary Oliver's Poetry Handbook or Ted Hughes' Poetry in the Making.

[Andrea Lakly · Rating 5 out of 5]

This is a great compilation of poetry. Pinsky calls it a "literary" study of poetry, but without any of the pejorative connotations of that term, and I would agree. Writing suggestions accompany each poem. I haven't actually written anything, but I've dreamed that I might.

[Claire · Rating 3 out of 5]

I cannot wait to get this one. What a profound contribution RP has made to the next generation of readers and authors with this work. So awesome!

[Karlan · Rating 5 out of 5]

Our former Poet Laureate does a wonderful job of introducing different styles and ideas. The introduction to each of the four sections is easily read and inspiring.

[Dan · Rating 2 out of 5]

My careful effort has been to offer some models for a quest that each serious student of poetry must create anew--as a personal, unique adventure. My introductions and headnotes are brief because the great work and the great adventure belong to the student, not me. I have tried to give hints about the principles and openings the poems suggests to me.

You read that, Gentle Reader? Robert Pinsky will provide "brief notes," but the "great adventure" of "learning to write (and read) poetry by studying with the masters" belongs to you alone. Pinsky may write three or four pages on a given subject (Freedom, Listening (Prosody), Form, and Dreaming Things Up), wax vaguely, and then present page after page of poems (i.e. "masters") for you to "study" said component.

If anything, Pinsky's suggestion of creating our own book of special poems to pore over and memorize and analyze is a valid, even exciting, one. His personal taste in poetry is rather eclectic. He has some 15th and 16th century verse which, in my opinion, only muddles matters. The inclusion of Andrew Marvell's "Upon Appleton House" (thirty pages of Marvell musing on a plethora of subjects) is not necessary. It's too long, and the lesson to be culled from this tedious reading is unclear: Pinsky notes in the brief intro that the poem is a model of the wandering, free-floating, yet purposeful long poem." Is there no shorter or more interesting "free-floating, yet purposeful long poems" out there?

Like Ted Kooser in The Poetry Home Repair Manual: Practical Advice for Beginning Poets, Pinsky is unwilling to seriously review prosody. He says, basically, those who understand prosody appreciate prosody better than those who do not understand prosody. Then he quotes an interview where Dizzy Gillespie explains the correct placement and understanding of accenting is the critical component of jazz rhythm; therefore, we shouldn't scan poetry but, rather, pay attention to how we accent. As he concludes:

"It isn't instinct. It's hard!" That is, you need to study. Composing a poem with real rhythm, choosing phrases for cadence and melody while feeling the flux of emotions and ideas, resembles that split-second process of the improvising musician.

What? Then he quotes a poem by Robert Frost and begins to obfuscate the lesson by noting the "iambic pentameter" of the verse is irrelevant to the metrical accents. The poems which follow have unique metrical qualities, but Pinsky never really clarifies what they are exactly.

In the nutshell, it's not helpful.

This is a decent collection of poetry, but this is by no means a "Singing School." Pinsky wants students to arrive already well-versed in poetics. Please. Don't expect him to actually "teach." Obviously, that's beneath him.

[William Schram · Rating 4 out of 5]

If you want to master something, learn from a master.

Singing School by Robert Pinsky is an attempt to teach poetry to the reader. It is a poetry anthology. Pinsky organizes the poems according to a theme and discusses the fine points of rhyme and meter to achieve his goal.

Pinsky chose a wide range of poets to cover. He includes poems by Ben Jonson, Emily Dickinson, and other selections from the classics. Furthermore, Pinsky uses quotations from people like Dizzy Gillespie. Gillespie was a jazz musician, and the quote was about knowing when to add emphasis.

Reading old poetry raises questions in my mind. One question I have is, did the word love used to rhyme with remove? I only ask because of a Thomas Campion poem.

I have no issues with the book. Thanks for reading my review, and see you next time.

[Nathan Eckles · Rating 3 out of 5]

Singing School: Learning to Write (and Read) Poetry by Studying with the Masters by Robert Pinsky is not a conventional poetry book. Most poetry books just have an anthology of poems or a story told through poetry, but this book analysis many poems from some of the greats poets and Pinsky puts his own notes on the poems. These notes help people understand what the poet may have been trying to convey with the poem. While I am not a fan of poetry in the slightest I can respect the poems that were analyzed in this book. It is also easier to read the poetry with the headnotes that Pinsky provided. I would suggest this book to anyone that may not like poetry but would still like to see how someone may interpret some of the greatest poems.

[Dan · Rating 5 out of 5]

A rare five star book from me, this time for unique reasons relative to my other five star ratings. This one earns its rating from the fact that I found 10 to 12 new poems in this book to add to my short list of favorite poetry. I consider myself a lover of poetry, but a picky lover who spurns the overwhelming majority of the poems that cross my path. I didn't find Robert Pinsky's little intros especially helpful nor did they increase my enjoyment of the poems (for the most part), but he did a great job picking poems for this book. I intend to buy a copy to revisit these new favorites again and again for years to come.

[Dave · Rating 3 out of 5]

This is mostly an anthology, that over laps with Pinsky's other anthology - Essential Pleasures.
Most of these poems are classics that you've either read or heard of.

Pinsky adds a few comments and some writing prompts before each one. You could read a lot worse, but I don't think he put much into this. I think he's more talent and passionate than this.

[Colette · Rating 2 out of 5]

The section introductions were good. I liked the final section on imagination. The first section in particular was not as much to my liking. There is a wide selection of poems throughout, some more enjoyable and instructive than others. This book just didn’t work well for me. I didn’t find the ”exercises” very helpful.

[Antonia · Rating 3 out of 5]

In this book, Robert Pinsky discusses ways to learn about poetry from the great works of the past. It’s an ambitious undertaking, especially given the attitudes toward a lot of that classic poetry — poems many of us read in high school or more likely college or grad school, but don’t read anymore. He provides brief introductions to 80 poems that have much to teach us about the music of poetry. I have to say that, although I’m a great fan of Robert Pinsky and I understand what he was aiming for here, I really wish he’d illustrated his points with contemporary works that a broader range of readers could relate to. I found myself just unable to get to the end of some of these very long poems. I would try to get the gist in a few stanzas, but just bogged down. I have a lot of background in the classics, but today far prefer to read contemporary work.

[Christian · Rating 4 out of 5]

The very idea that one must be schooled in poetry, and schooled by the old masters, is refreshing. I enjoyed Pinsky’s prompts (even followed some...), found some new favorites, and enjoyed reading familiar poems with fresh attention.

[Lanette Sweeney · Rating 4 out of 5]

Just as with Poet's Choice by Edward Hirsch, I kept having this from the library and not finishing it. So now I am ordering it from Thriftbooks so I can own it and put off finishing it forever... Hahaha, please tell me someone out there understands how that happens once you own a book?

[Kiko Amorsolo · Rating 2 out of 5]

It has some nice tips but, hey, don't expect us to learn much if you're just going to present some poems and have your students figure out themselves, with you, dear author, blabbering about some vague stuff. The book has potential but it ended up a lazy ass project.

[Scott Lee · Rating 3 out of 5]

Many of the same selections as in the previous book I read by Pinsky, The Sounds of Poetry. A good anthology with some occasionally cryptic prompts based on the selections. Didn’t change my life but pleasant enough. 2.5 stars.

[Matthew · Rating 4 out of 5]

This a great anthology. I think I expected a little more active teaching, but I’m delighted to return to this collection time and again to learn and challenge myself to broaden my own writing practice.

[L.B. Sedlacek · Rating 5 out of 5]

A must read for poets! A cleverly put together workshop of how to write poems presented in a totally new way.

[Doc · Rating 3 out of 5]

Not particularly edifying

[Jason · Rating 4 out of 5]

Great book but I would have loved more tips on how to write poetry. I loved the examples given throughout and it’s gonna help me be a better reader and writer of poetry (and of songs).

[Luigi Sposato · Rating 5 out of 5]

Learning the formalist side of poetry is not easy, but for me it has been a lot of fun, and surprisingly refreshing.

The exercises from Pinsky are a blast too!

[T.J. Gillespie · Rating 2 out of 5]

Disappointing.

If this book were simply an anthology of Pinsky's favorite poems, it would be merely adequate. There are the traditional heavy hitters like Keats and Dickinson (and you can probably guess which obvious poems are included), Frost and Shakespeare, Whitman and Langston Hughes. "Jabberwocky" shows up too. That's not to say there aren't a few pleasant surprises here; there's the delightful "Big Mystical Circus" by Jorge de Lima, a saucy 17th century poem about erectile dysfunction, and a poem by Christopher Smart that I thought must have been a lost Beat classic until I realized he wrote in the 18th century. I suppose Pinsky could have dated the poems.

But the problem is that this book isn't billed as just a collection, but rather as a study of the masters. The blurbs on the cover commend Pinsky as a "teacher" and celebrate his "pedagogical legacy." With the notable exception of the few pages of that mark each section ("Freedom," "Listening," etc.) there is little instruction, analysis, exegesis, or even help with the poems. Instead of introducing each poem or highlighting elements worth noting, he provides fragmentary "head notes" that offer little insight. For example, his introduction to a Dickinson poem is the four word dictum: "Get it by heart." Nice sentiment, but not particularly illuminating.

I pity the student writer who gets writing directions like this: "Try your own, contemporary version of this, in your own world, keeping it fresh yet recognizable--good luck."

That's essentially the gist of Pinsky's teaching. Read master poets. Try it yourself. As for any more direction or tips, well, good luck.

[Kerfe · Rating 4 out of 5]

Pinsky teaches poetry at Boston University, and this book is most likely based on his approach to his classes. The basic premise is simple: to learn about writing poetry, read poetry. Lots of it, and lots of different poets, writing in different styles, from different centuries.

His "prompts" are really just guides to looking at what each poet brings to their words and form and learning from that.

And he urges the reader to speak the words aloud. Like notes on a page, the sounds need to be heard to truly come to life, using in this case the instrument of the human voice.

Nearly all the poetic examples are written in English; these are not translations for the most part. I know that when I read poetry originating in another language, the translators always note the difficulty of their task. I would be interested to know if Pinsky feels that a poet writing in English should learn mostly from other poets writing in English. Although obviously poetic translation will always remain inexact (just look through the different versions of Basho's haiku for one), I don't think you should exclude the poets of other languages from the learning process.

Pinsky is not telling you "how" to write. By grouping diverse examples into different approaches to verse, he provides a good start to a foundation in the many ways poets show us the world. Might as well begin by learning from, and imitating, the best.