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Introduction | |
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Meters | |
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Accentual Verse | |
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Syllabics: Sweeter Melodies | |
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Counted Verse: Upper Limit Music | |
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Iambic Meter | |
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Blank Verse | |
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Anapestics | |
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Running with Abandon: Some Notes on Trochaic Meter | |
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Dactylic Meter: A Mary-Sounding Sea | |
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Free Verse | |
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All Composed in a Meter of Catullus: Hendecasyllabics | |
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Pronouncing "Carpenter": Quantitative Meter in English | |
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Off the Main Road: Some Maverick Meters | |
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Stanzas | |
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"The Bravest Sort of Verses": The Heroic Couplet | |
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The Self-Engendering Muse: Terza Rima | |
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The Quatrain | |
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Sapphics | |
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Ottava Rima | |
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Spenser's Eponymous | |
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The Decima: A Poetic Journey from Spain to New Mexico | |
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Received Forms | |
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The Folk Ballad | |
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The Ballade: Exquisite Intricacy | |
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The Blues | |
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Taking Shape: The Art of Carmina Figurata | |
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Gists, Piths, and Poison-Pills: The Art of the Epigram | |
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Ghazal: To Be Teased into DisUnity | |
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Haiku | |
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Hip-Hop Rhyme Formations: Open Your Ears | |
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Japanese-Style Linked Poems | |
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Form Lite: Limericks and Clerihews | |
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A Wand Made of Words: The Litany Poem | |
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Musical Form and Formalist Poetry | |
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The Pantoum's Postcolonial Pedigree | |
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Strange Tales and Bitter Emergencies: A Few Notes on the Prose Poem | |
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The Metrics of Rap | |
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Rondeaux and Roundels | |
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Sestina: The End Game | |
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The Sonnet | |
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Triolet: Trippingly on the Tongue | |
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Gymnastics: The Villanelle | |
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Principles for Formal Experimentation | |
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Organic Form | |
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Fractal Amplifications | |
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Performance Poetry | |
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Beyond Found Poetry | |
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The List Poem | |
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Procedural Poetry: The Intentions of Nonintention | |
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Nude Formalism: A Sampler | |
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Oulipian Poetry | |
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Two American Verse Forms: The Cinquain and the Quatern | |
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The Low Coup as a Contemporary Afro-American Verse Form | |
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The Paradelle | |
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Predetermined Avant-Garde Forms | |
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Bibliography: Sources for Further Reading | |
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Contributors | |
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Acknowledgments | |
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Index of Names | |