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In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which mimics memory and its losses, and which plays with the textures of memory, including its unexpectedness, its flashes and disappearances. Her recurrent motifs and materials include home, homelessness and exile; death and the memory of the dead; political grief and passion; silence, speech, the sayable and the ineffable. Drafts 1-38, Toll functions as a long poem comprised of 38 pieces, or drafts. These poems are conceived as autonomous "canto-like" sections that work on two procedural principles. One is the random repetition of lines or phrases across poems, a self-questioning, processual, and reconceptualizing strategy that honors the term "drafts." A second procedural principle is "the fold." This is the reconsideration of a "donor draft" and the deployment of some aspect in the donor draft in a related draft. The periodicity of this reconsideration is the number 19; hence drafts 1-19 make up the original layer, while drafts 20-38 constitute the first fold on top of this material.
With almost 5 million copies sold 60 years after its original publication, generations of readers have now journeyed with Milo to the Lands Beyond in this beloved classic. Enriched by Jules Feiffer’s splendid illustrations, the wit, wisdom, and wordplay of Norton Juster’s offbeat fantasy are as beguiling as ever. “Comes up bright and new every time I read it . . . it will continue to charm and delight for a very long time yet. And teach us some wisdom, too.” --Phillip Pullman For Milo, everything’s a bore. When a tollbooth mysteriously appears in his room, he drives through only because he’s got nothing better to do. But on the other side, things seem different. Milo visits the Island of Conclusions (you get there by jumping), learns about time from a ticking watchdog named Tock, and even embarks on a quest to rescue Rhyme and Reason. Somewhere along the way, Milo realizes something astonishing. Life is far from dull. In fact, it’s exciting beyond his wildest dreams!
This book is one long poem in many sections. It is the "masterwork" of this avante garde poet, who has been working on this composition for a decade. In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which mimics memory and its losses, and which plays with the textures of memory, including its unexpectedness, its flashes and disappearances. Her recurrent motifs and materials include home, homelessness and exile; death and the memory of the dead; political grief and passion; silence, speech, the sayable and the ineffable. Drafts 1-38, Toll functions as a long poem comprised of 38 pieces, or drafts. These poems are conceived as autonomous "canto-like" sections that work on two procedural principles. One is the random repetition of lines or phrases across poems, a self-questioning, processual, and reconceptualizing strategy that honors the term "drafts." A second procedural principle is "the fold." This is the reconsideration of a "donor draft" and the deployment of some aspect in the donor draft in a related draft. The periodicity of this reconsideration is the number 19; hence drafts 1-19 make up the original layer, while drafts 20-38 constitute the first fold on top of this material.
In a life full of chaos and travel, Elizabeth Bishop managed to preserve and even partially catalog, a large collection—more than 3,500 pages of drafts of poems and prose, notebooks, memorabilia, artwork, hundreds of letters to major poets and writers, and thousands of books—now housed at Vassar College. Informed by archival theory and practice, as well as a deep appreciation of Bishop’s poetics, the collection charts new territory for teaching and reading American poetry at the intersection of the institutional archive, literary study, the liberal arts college, and the digital humanities. The fifteen essays in this collection use this archive as a subject, and, for the first time, argue for the critical importance of working with and describing original documents in order to understand the relationship between this most archival of poets and her own archive. This collection features a unique set of interdisciplinary scholars, archivists, translators, and poets, who approach the archive collaboratively and from multiple perspectives. The contributions explore remarkable new acquisitions, such as Bishop’s letters to her psychoanalyst, one of the most detailed psychosexual memoirs of any twentieth century poet and the exuberant correspondence with her final partner, Alice Methfessel, an important series of queer love letters of the 20th century. Lever Press’s digital environment allows the contributors to present some of the visual experience of the archive, such as Bishop’s extraordinary “multi-medial” and “multimodal” notebooks, in order to reveal aspects of the poet’s complex composition process.
Broad-ranging and pluralistically investigative, the essays in Thinking with the Poem document Rachel Blau DuPlessis’s authorial interventions as a poet, scholar, and cultural critic steeped in the linguistic and political frames of her time. The writers included in this volume engage root-level questions at the heart of DuPlessis’s praxis as posed by her in a recent essay: “What is a poem, what is a poet, what is an oeuvre, what is the ‘poetic’?” Inventive and noncanonical, these essays offer substantive responses to these and other questions, providing new routes of inquiry into the poetry and poetics of this preeminent figure of new writing.
This book brings Drafts, the long poem by Rachel Blau DuPlessis, to its mid-point. A polyphonic work, both monumental and provisional, Drafts asks how to represent our sense of direness and ethical crises, the awe, asonishment, skepticism and pleasure: that all this is. This installment of nineteen Drafts is dedicated to its own poetic and political communities, offering these dedications as pledges to transformation out of social rage and out of grief-inflected hope. The book also contains a witty “summary” of all fifty-seven Drafts to date. This book makes clear the ways DuPlessis’ long poem is a midrashic response to the long poems of modernism and the tolls of modernity. She is a poet of polysemy, of negativity, of critique. Of Drafts, Walter Kaladjian remarked, “DuPlessis’ avant-garde procedures are imbricated in an ethicopolitical mode of poetic testimony.” Nathaniel Mackey said that Drafts “affirm and negate the toll history takes on letter and spirit, affirming and negating and navigating a way between.”
"Poetics and Praxis 'After' Objectivism includes an introduction, ten chapters, and a roundtable afterward--all of which have been written specifically for this volume. The collection examines late twentieth- and early twenty-first-century poetic praxis within and against the dynamic, disparate legacy of Objectivism and the Objectivists. This is the first volume in the field to study this vital legacy through current poetic praxis, renewing the complexities of the past in terms of the difficulties of the present. The book's scope investigates the continuing relevance of the Objectivist ethos to poetic praxis in our time, examining and exemplifying generative intersections of creativity and critique" --
Writing in Real Time is the first book-length study of the American long poem as a complex adaptive system.
What kinds of pleasure do we take from writing and reading? What authority has the writer over a text? What are the limits of language's ability to communicate ideas and emotions? Moreover, what are the political limitations of these questions? The work of the French cultural critic and theorist Roland Barthes (1915-80) poses these questions, and has become influential in doing so, but the precise nature of that influence is often taken for granted. This is nowhere more true than in poetry, where Barthes' concerns about pleasure and origin are assumed to be relevant, but this has seldom been closely examined. This innovative study traces the engagement with Barthes by poets writing in English, beginning in the early 1970s with one of Barthes' earliest Anglophone poet readers, Scottish poet-theorist Veronica Forrest-Thomson (194775). It goes on to examine the American poets who published in L=A=N=G=U=A=G=E and other small but influential journals of the period, and other writers who engaged with Barthes later, considering his writings' relevance to love and grief and their treatment in poetry. Finally, it surveys those writers who rejected Barthes' theory, and explores why this was. The first study to bring Barthes and poetry into such close contact, this important book illuminates both subjects with a deep contemplation of Barthes' work and a range of experimental poetries.
The influence of Roland Barthes on contemporary culture has been the subject of much analysis, but never before has this influence been closely examined in relation to poetry. This innovative study traces Anglophone poetry’s response to the literary and cultural theory of Barthes — from debate to adoption, adaptation and rejection.