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题目内容
题目材料：
While Gayl Jones's fiction has received significant critical attention, her comparably quiet, yet formidable, corpus of poetry has been virtually ignored by scholars. Significantly, Jones's first a publication appeared in verse, and her literary production from 1969 through the early 1980s includes nearly as many poems as short stories, betraying a formative and consistent involvement with poetry. Jones's lack of critical recognition as a poet is at least partially traceable to her documented ambivalence regarding genre boundaries and artistic identity: "I've never really considered myself a poet. I've written what I call poetry but I've always thought of myself as primarily a fiction writer and so I write poetry from the viewpoint and interest of a storyteller." Consistent with this self-conceptualization, Jones's critical observations regarding the work of other poets often focus on techniques traditionally associated with fiction writing: narrative and its rendering usually appear to outweigh the various poetic conventions of prosody and form. While reviewing the work of Sterling Brown, Jones provides a checklist of what chiefly attracts her in poetry: characterization and narrative voice are foregrounded, accompanied by such structural concerns of fiction as dramatic forms and scenes, all of which combine to reveal a sensibility interested primarily in formulating a poetics of effective storytelling.
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