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Set against the cultural and political backdrop of interwar Europe and the Americas, Poetry in Pieces is the first major study of the Peruvian poet César Vallejo (1892–1938) to appear in English in more than thirty years. Vallejo lived and wrote in two distinct settings—Peru and Paris—which were continually crisscrossed by new developments in aesthetics, politics, and practices of everyday life; his poetry and prose therefore need to be read in connection with modernity in all its forms and spaces. Michelle Clayton combines close readings of Vallejo’s writings with cultural, historical, and theoretical analysis, connecting Vallejo—and Latin American poetry—to the broader panorama of international modernism and the avant-garde, and to writers and artists such as Rainer Maria Rilke, James Joyce, Georges Bataille, and Charlie Chaplin. Poetry in Pieces sheds new light on one of the key figures in twentieth-century Latin American literature, while exploring ways of rethinking the parameters of international lyric modernity.
Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the "I" in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric "I" speaks, from first to last, as a creation of poetic language.
Poetry. The poems in Sara Nicholson's THE LIVING METHOD imaginatively grasp the raw materials of nature, calling the reader to the "outer limits of the dark," where one notices the music of the woods and gardens while searching for "the youngest photo of the night." These poems explore and create various orders of images, a mysterious taxonomy of words and scraps of phrases that revive what in lesser hands would remain dying metaphors. Here, in her debut collection, a new and singular poetic logic reveals itself, growing tenderly out of the "droning chamber" of the poet's throat, through Google image searches, and from the rich soil of archaic landscapes. "Chilean filmmaker Alejandro Jodorowsky claimed, 'Most directors make films with their eyes; I make films with my testicles.' Sara Nicholson makes poems with her hippocampus, that somewhat mysterious part of the brain that deals with memory and spatial recognition in ways we have yet to understand conclusively. Her poems speak to us directly from somewhere in there: 'A queen will dwell in the radius and eat it//but the circumference/will answer without a refrain.' We can hear a voice at once speaking to us while also thinking aloud to itself. These are poems of inquiry without the presumptuous rhetoric, wonder without the rhapsodic glitz, formal control without the self-congratulatory show tune medley. I've read very few poets of my generation who have so decidedly shrugged off pretense and posturing. She's pure hippocampus, navigating the external world from deep within the internal. We hear a voice speaking to us, but that voice comes from a crowded place, amid a thousand thoughts we do not hear. Her poems have no angle. They touch on the occult and hermetic but do not wear them as a shroud. They reach out from the radius into the radiant." Matthew Henriksen"
Fables of the Self traces ideas of imagined selfhood through the lyric poetry of classical Greece and Rome, the modernist poetry of France, and modern and contemporary English and American lyrics. Rosanna Warren's work emerges from the tradition of British and American poet-critics such as William Empson, Donald Davie, and Randall Jarrell. Her readings of Sappho, Virgil, Baudelaire, Melville, Rimbaud, Mark Strand, and Louise Glück, among others, combine Helen Vendler's passionate attention to detail and something of Harold Bloom's panoramic view. Warren opposes both the literalizing, autobiographical approach to self in so-called confessional poetry and the other extreme of avant-garde erasures of self. Framing her critical studies between a memoir of childhood and a concluding journal entry, Warren has composed an occult autobiography, showing the imagination as a transfiguring and potentially moral force.
2021 NATIONAL BOOK AWARD FINALIST FOR POETRY Eschewing series and performative typography, Douglas Kearney’s Sho aims to hit crooked licks with straight-seeming sticks. Navigating the complex penetrability of language, these poems are sonic in their espousal of Black vernacular traditions, while examining histories, pop culture, myth, and folklore. Both dazzling and devastating, Sho is a genius work of literary precision, wordplay, farce, and critical irony. In his “stove-like imagination,” Kearney has concocted poems that destabilize the spectacle, leaving looky-loos with an important uncertainty about the intersection between violence and entertainment.
Poetry. Sara Nicholson's second collection, WHAT THE LYRIC IS, is a sharp, humorous, and poignant exploration of how the lyric in poetry both fits and fails us. Conversant with dead poets, but skeptical of their conceits, Nicholson mixes lightness with melancholy in poems with titles like "Dante in Arkansas": "My breath's been / Doomed to harmonize with fog." WHAT THE LYRIC IS turns the pastoral tradition upside down, ever careful to remind us of the price for all this reflection and merriment "Acorns are beautiful only to those / Who've never had to clean them up." "Sara Nicholson's aim is 'true poems flee' says Emily Dickinson. You see what I did there, but, more importantly, if you read the poems herein you'll hear one of my favorite writers making extraordinary word-music. Hers is the lyric as unteachable moment. She sends and receives me." Graham Foust "I love the gravely funny, imaginative poems of WHAT THE LYRIC IS. Nicholson deploys a provisional dream-logic in which all things are level with 'the goddamn oak' or 'the bladder-shaped stars' and any itinerant hope that there is a wisdom greater than 'I wanted to sing / so I stopped talking' must be laid aside or get dragged instead to the trash. Freely admitting of what they do not know, these poems act as nonpology to the world that will not read them and frank lyric to all who are bold and fortunate enough to enjoy them." Jae Choi"