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A critical study of the intersection of folk and avant-garde poetics in transatlantic small press poetry networks from the 1950s up to the present.
What would it mean to be avant-garde today? Arguing against the notion that the avant-garde is dead or confined to historically "failed" movements, this book offers a more dynamic and inclusive theory of avant-gardes that accounts for how they work in our present. Innovative in approach, Provisional Avant-Gardes focuses on the medium of the little magazine—from early Dada experiments to feminist, queer, and digital publishing networks—to understand avant-gardes as provisional and heterogeneous communities. Paying particular attention to neglected women writers, artists, and editors alongside more canonical figures, it shows how the study of little magazines can change our views of literary and art history while shedding new light on individual careers. By focusing on the avant-garde's publishing history and group dynamics, Sophie Seita also demonstrates a new methodology for writing about avant-garde practice across time, one that is applicable to other artistic and non-artistic communities and that speaks to contemporary practitioners as much as scholars. In the process, she addresses fundamental questions about the intersections of aesthetic form and politics and about what we consider to be literature and art.
A critical study of the intersection of folk and avant-garde poetics in transatlantic small press poetry networks from the 1950s up to the present.
Exploring works by Djuna Barnes, David Jones, F.T. Prince, Denise Riley, Paul Muldoon, and Ted Hughes, this volume traces the relationship between twentieth-century poetry and art to question the role of art in society.
Furnishing a novel take on the poetry of the 1930s within the context of the cultural history of the Depression, this book argues that the period's economic and cultural crisis was accompanied by an epistemological crisis in which cultural producers increasingly cast doubt on language in its ability to represent society.
BLAST at 100 makes an original contribution to the understanding of a major modernist magazine. Providing new critical readings that consider the magazine’s influence within contexts that have not been acknowledged before – in the development of Irish and Spanish literature and culture in the twentieth century, for example, as well as in the areas of cultural studies, performance studies and the scholarship of teaching and learning – BLAST at 100 reconsiders the magazine’s complex legacy. In addition to situating the magazine in new and often unexpected contexts, BLAST at 100 also offers important new insights into the work of some of its most significant contributors, including Wyndham Lewis, Ezra Pound, and Rebecca West. Contributors are: Philip Coleman, Simon Cutts, Andrzej Gąsiorek, Angela Griffith, Nicholas E. Johnson, Kathryn Laing, Christopher Lewis, J.C.C. Mays, Kathryn Milligan, Yolanda Morató, Nathan O’Donnell, Alex Runchman, Colm Summers, Tom Walker
Reconsiders the lyrical norm that predominates in Anglophone accounts of poetry through a multilingual and transnational lensA bold project that departs from a tradition heavily dominated by the lyric to question the very nature of what counts as poetry.A visually exciting text that draws on poetry and art from a wide array of late twentieth and early twenty-first century practitioners.An interdisciplinary approach to poetry and poetics that opens new avenues for understanding how poetry intersects with philosophies of the object, media theory, and visual studies.A transnational frame that responds to a growing scholarly push to situate American studies within the broader context of the American hemisphere.This book examines poets and artists in the Americas during the late twentieth and early twenty-first centuries to show how they worked to make language into material objects and material objects into language. It builds a theory of 'material poetics' that provides an alternative account of poetry in hemispheric America. Rebecca Kosick argues that by reframing American poetry to prominently include object-oriented practices within and beyond the United States, material poetry can be seen as representing a significant branch of the American poetic tradition.
A ground-breaking analysis of the short form lineage in twentieth-century American poetry Proposes a new genealogy of 20th century and contemporary American verse Contains in-depth discussion of key American poets and movements Will appeal to graduates and scholars in both the modernist and contemporary fieldsReading a century of American poetry through the prism of short form, this book analyses the centrality of an aesthetic of brevity to American modernist verse. It begins with Imagism and devotes chapters to William Carlos Williams, George Oppen, Lorine Niedecker, Robert Creeley, Larry Eigner, Robert Grenier and Rae Armantrout. Montgomery combines his larger argument, which takes issue with epic-driven narratives of Modernist poetry, with sensitive and original readings of numerous short and short-lined poems. Suggesting a reappraisal of key movements as objectivism, Black Mountain poetry and Language Writing, he opens new lines of discussion around the major poets of the period
The Collaborative Artist’s Book offers a rare glimpse into collaborations between poets and painters from 1945 to the present, and highlights how the artist’s book became a critical form for experimental American artists in the twentieth and twenty-first centuries. Alexandra Gold provides a broad overview of the artist’s book form and the many ongoing debates and challenges, from the disciplinary to the institutional, that these forms continue to pose. Gold presents five case studies and details not only how each individual collaboration came to be but how all five together engage and challenge conventional ideals about art, subjectivity, poetry, and interpersonal relations, as well as complex social questions related to gender and race. Taking several of these books out of special collections libraries and museum archives and making them available to a broad readership, Gold brings to light a whole genre that has been largely forgotten or neglected.
The Jargon Society, a boundary-pushing publisher of poetry and experimental writing, was founded by Jonathan Williams (1929–2008) in 1951. Jargon quickly gained a reputation as the home of the poetic and literary avant-garde, including noted midcentury poets like Charles Olson and Lorine Niedecker. Williams himself looms large in this story as the publisher at Jargon until his death, making this book as much about his life and work as the press he founded, which today operates through the Black Mountain College Museum in Asheville, North Carolina. Andy Martrich authors this story in a manner befitting Jargon's ethos of literary experimentation by focusing on the books the Society cataloged but never published. While it's not uncommon for a small press to plan for books that don't make it to publication, Martrich argues that Jargon's incessant financial difficulties, coupled with Williams's impressive network, makes its trail of unfinished projects unique and an ideal way to chronicle the press itself. Using archival research, interviews with volunteers at Jargon, and more, Martrich gives readers not only an intimate look into a Southern press and publisher but also an important history of modern and experimental literature in twentieth-century America. Shy of the Squirrel's Foot includes an epilogue by Anne Midgette, an afterword by Nicole Raziya Fong, and Jargon's complete annotated bibliography, which details every book the press published, compiled in one place for the first time.