As previously mentioned on this site, the Folding Mirror poetry form was included in the new Book of Forms, edited by Lewis Turco. One of the examples of an FM poem included in the book was by Caroline Gill, who has also provided a lot of expert advice and support for the establishment of the form and this site. Caroline recently blogged about the book on her Caroline at Coastcard site, and an extract is copied below with her permission.
Caroline Gill
Publication Pointer (2): The Book of Forms (4th edition) by Lewis Putnam Turco
Professor Lewis Turco’s work, The Book of Forms, is now available in its 4th Edition, published by the University Press of New England. This new ‘revised and expanded edition’ has as its subtitle, A Handbook of Poetics Including Odd and Invented Forms.
A copy of the third edition (published in 2000) has long been my constant poetry companion. I have learned so much about what Professor Turco calls ‘the elements of poetry’, comprising ‘levels of language usage’. I have been fascinated by the plethora of covered forms, from one lineadonics to 210 lined sonnets redoubled.
The latest edition contains all these features plus added extras in the guise of ‘odd and invented forms’. If I home in on British contributions for a moment, you will find a description of Dr Marc Latham’s Folding Mirror Poetry, with an example by Claire Knight and a second one by yours truly.
Lewis Putnam Turco is an emeritus professor of English. He was the founding director of the Cleveland State University Poetry Center and of the Department of Creative Writing at the State University of New York College at Oswega. The new edition, with sample poems by established names like Robert Frost and newer names like Greg Pincus, can be purchased from UPNE: the details can be found here. You can read the reviews on Amazon here.
In drawing these thoughts to a close, I would also wish to express my thanks to those who create these new forms for us to enjoy. For after all …
“It can be argued that to invent a verse-form which becomes immortal,
living on in the works of future poets and in other languages,
is one of the greatest achievements possible for a poet …”
Martin Lyon, ‘Acumen‘, issue 71 (Sept 2011), p.71