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This text studies five contemporary writers whose radical engagements with poetic form and political content shed new light on issues of race, class and gender. In a detailed reading of three American poets - Susan Howe, Nathaniel Mackey and Lyn Hejinian, and two Caribbean poets, Kamau Brathwaite and M. Nourbese Philip, the book argues that these writers have produced new forms of poetry that address the holes in history that more traditional forms of poetry neglect. By refusing to limit their work to lyrical expressions of personal experience, it maintains that these writers produce poetry that explores the linguistic, historical and political conditions of contemporary culture, advancing a formally and thematically challenging critique of the ways in which women and people of colour are represented. Far from constituting a unified school of poetry however, the book argues that these five writers represent different facets of the various kinds of poetic practice taking place on the margins of contemporary culture.
The first law of the data site, however, is relatively simple: if complex intelligence is to continue to evolve it must act so there are more possibilities to act next time. Don Byrd, from the introductory essay
Poetry pushes metaphor to the limit. Consider how many different, dynamic, and interconnected dimensions (e.g., text, rhyme, rhythm, sound, and many more) a poem has, and how they all play a role in the ways (metaphorical) meaning is constructed. There is probably no other genre that relies so much on the creator’s ability to get his or her message across while, at the same time, leaving enough room for the interpreters to find out for themselves what a poem means to them, what emotions and feelings it evokes, and which experiences it conveys. This book uses interviews, questionnaires and think-aloud protocols to investigate the meanings and functions of metaphors from a poet’s perspective and to explore how readers interpret and engage with this poetry. Besides the theoretical contribution to the field of metaphor studies, this monograph presents numerous practical implications for a systematic exploration of metaphors in contemporary poetry and beyond.
In Feeling as a Foreign Language, Alice Fulton considers poetry's uncanny ability to access and recreate emotions so wayward they go unnamed. Fulton contemplates topics ranging from the intricacies of a rare genetic syndrome to fractals from the aesthetics of complexity theory to the need for "cultural incorrectness." Along the way, she falls in love with an outrageous 17th century poet, argues for a Dickinsonian tradition in American letters, and calls for a courageous poetics of inconvenient knowledge.
"David Orr is no starry-eyed cheerleader for contemporary poetry; Orr’s a critic, and a good one. . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom Perrotta Award-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.
Elegies of public and personal loss from the renowned avant-garde poet
Drawing from a broad range of contemporary British poets, including Thomas Kinsella, Kathleen Jamie, and Alice Oswald, this study examines the inherently spatial and affective nature of our engagement with poetry. Adding to the expanding field of geocritical studies, Yeung specifically discusses ideas of space and constructions of voice in poetry.
How do poems remember? What kinds of memory do poems register that factual, chronological accounts of the past are oblivious to? What is the self created by such practices of memory? To answer these questions, Uta Gosmann introduces a general theory of "poetic memory," a manner of thinking that eschews simple-minded notions of linearity and accuracy in order to uncover the human subject's intricate relationship to a past that it cannot fully know. Gosmann explores poetic memory in the work of Sylvia Plath, Susan Howe, Ellen Hinsey, and Louise Glück, four American poets writing in a wide range of styles and discussed here for the first time together. Drawing on psychoanalysis, memory studies, and thinkers from Nietzsche and Benjamin to Halbwachs and Kristeva, Gosmann uses these demanding poets to articulate an alternative, non-empirical model of the self in poetry.
Language Poetry, Language Writing, L=A=N=G=U=A=G=E writing—no matter the moniker, the impact of the movement and its particular pedigree of theory-conscious poetics, postmodern aesthetics, and non-academic stance cannot be denied. In this timely volume, David Arnold not only provides a means for coming to terms with this influential mode of writing and its ongoing crisis of representation but also reassesses the complex relationship between language poetry and surrealism, through discussion of some of late twentieth-century’s most innovative poets, including Charles Bernstein, Susan Howe, Michael Palmer, and Barrett Watten.