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Can poetry act as an aesthetic amplification device, akin to a microscope, through which we can sense minute or nearly imperceptible phenomena such as the folding of molecules into their three-dimensional shapes, the transformations that make up the life cycle of a silkworm, or the vaporous movements that constitute the ever-shifting edges of clouds? We tend to think of these subjects as reserved for science, but, as Ada Smailbegović argues, twentieth- and twenty-first-century writers have intermingled scientific methodologies with poetic form to reveal unfolding processes of change. Their works can be envisioned as laboratories within which the methodologies of experimentation, natural historical description, and taxonomic classification allow poetic language to register the rhythms and durations of material transformation. Poetics of Liveliness moves across scales to explore the realms of molecules, fibers, tissues, and clouds. It investigates works such as Christian Bök’s insertion of a poetic text into the DNA code of living bacteria in order to generate a new poem in the shape of a protein molecule, Jen Bervin’s considerations of silk fibers and their use in biomedicine, Gertrude Stein’s examination of brain tissues in medical school and its subsequent influence on her literary taxonomies of character, and Lisa Robertson’s studies of nineteenth-century meteorology and the soft architecture of clouds. In their attempt to understand physical processes unfolding within lively material worlds, Smailbegović contends, these poets have developed a distinctive materialist poetics. Structured as a poetic cosmology akin to Lucretius’s “On the Nature of Things,” which begins at the atomic level and expands out to the vastness of the universe, Poetics of Liveliness provides an innovative and surprising vision of the relationship between science and poetry.
In Black Aliveness, or A Poetics of Being, Kevin Quashie imagines a Black world in which one encounters Black being as it is rather than only as it exists in the shadow of anti-Black violence. As such, he makes a case for Black aliveness even in the face of the persistence of death in Black life and Black study. Centrally, Quashie theorizes aliveness through the aesthetics of poetry, reading poetic inhabitance in Black feminist literary texts by Lucille Clifton, Audre Lorde, June Jordan, Toni Morrison, and Evie Shockley, among others, showing how their philosophical and creative thinking constitutes worldmaking. This worldmaking conceptualizes Blackness as capacious, relational beyond the normative terms of recognition—Blackness as a condition of oneness. Reading for poetic aliveness, then, becomes a means of exploring Black being rather than nonbeing and animates the ethical question “how to be.” In this way, Quashie offers a Black feminist philosophy of being, which is nothing less than a philosophy of the becoming of the Black world.
Acclaimed poet and critic Maureen N. McLane offers an experimental work of criticism ranging across Romantic and contemporary poetry. In My Poetics, Maureen N. McLane writes as a poet, critic, theorist, and scholar—but above all as an impassioned reader. Written in an innovative, conversable style, McLane’s essays illuminate her own poetics and suggest more generally all that poetics can encompass. Ranging widely from romantic-era odes and hymns to anonymous ballads to haikus and haibuns to modernist and contemporary poetries in English, My Poetics explores poems as speculative instruments and as ways of registering our very sense of being alive. McLane pursues a number of open questions: How do poems generate modes for thinking? How does rhyme help us measure out thought? What is the relation of poetry to its surroundings, and how do specific poems activate that relation? If, as Wallace Stevens wrote, “poetry is the scholar’s art,” My Poetics flies under a slightly different banner: study and criticism are also the poet’s art. Punctuated with McLane’s poems and drawing variously on Hannah Arendt, Percy Bysshe Shelley, Roland Barthes, Bruno Latour, and other writers and poets, My Poetics is a formally as well as intellectually adventurous work. Its artful arrangement of readings and divagations shows us a way to be with poems and poetics.
"In STANDARD AMERICAN ENGLISH, writer and multidisciplinary artist Elisabeth Houston brings her readers deep into the world of baby, a persona she has been developing in performance contexts for nearly a decade. The poems in this debut collection emerge from the abject dialectic of baby's psyche--where a self in formation staggers under the weight of sexual abuse, body image dysmorphia, rapacious materialism, fame obsession, and racial fetishism. What is witnessed here is the way late capitalism unfolds brutal games of power, affecting all dimensions of life, with the potential to consume and ravage individual actors, as well as entire communities and cultures. STANDARD AMERICAN ENGLISH is a blistering satire of contemporary American values. In the tradition of literary "outlaws" such as Kathy Acker, Marguerite Duras, and Jean Genet, Houston pulls out all the stops. STANDARD AMERICAN ENGLISH was selected by Tracie Morris in our 2020 Open Call. A magnificent upending of language."-- Khadijah Queen "This heartbreaking, experimental cycle of surrealist poems by Elisabeth Houston is a helluva ride in the Kathy Acker tradition of Blood and Guts in High School. As a meta-commentary and indictment of self-congratulatory New York cultural denizens, academia, art circles and romanticized self-harm, STANDARD AMERICAN ENGLISH considers how language and its resonances can hurt, box us in, destroy us even as it purports to make and save us. There are two primary characters in S.A.E.: Baby and the dissociating narrator that observes Baby's life, never once intervening to help, to save. Using the particularities of various New York representations, we see how people fall through the cracks, pick themselves up, harm and judge themselves, harm and judge others. Who is Baby? She's everyone we callously don't care about, everyone we're too cute to embrace. This rollicking hybrid tour-de-force from Elisabeth Houston evokes introspections on society from Acker, Wanda Coleman, Alfred Hitchcock, Jennifer Jazz, Akilah Oliver and Natalie Wynn. Houston indicts every individual's displaced capacity for cruelty under the patina of hipness. And yet, we root for Baby, we hope for Baby, and in doing so, in the end, maybe there's hope for us."-- Tracie Morris, author of Who Do with Words "There are writers who write and use language that already exists and lead us into new ways of seeing. There are also writers who invent language and form who carve out words and names and experiences from earth's substance and bring a new universe into existence. Elisabeth Houston is an interdisciplinary artist, a poet, and is such an inventor, a new voice to ready ourselves for, a voice we need. What I admire in this debut book of poetry is not only the satire, social commentary, the swagger, the baby persona, the language fused from pop culture, but also the danger this writer flirts with, through subject matter, race and feminism, bulimia and sexual abuse and more... that in this book's great moments exposes and makes truth stare at you unabashed and it is moving."--Pamela Sneed, author of Funeral Diva Poetry. California Interest. African & African American Studies. Women's Studies. LGBTQAI+ Studies.
Equally interested in what is and what could be, Cybertext Poetics combines ludology and cybertext theory to solve persistent problems and introduce paradigm changes in the fields of literary theory, narratology, game studies, and digital media. The book first integrates theories of print and digital literature within a more comprehensive theory capable of coming to terms with the ever-widening media varieties of literary expression, and then expands narratology far beyond its current confines resulting in multiple new possibilities for both interactive and non-interactive narratives. By focusing on a cultural mode of expression that is formally, cognitively, affectively, socially, aesthetically, ethically and rhetorically different from narratives and stories, Cybertext Poetics constructs a ludological basis for comparative game studies, shows the importance of game studies to the understanding of digital media, and argues for a plurality of transmedial ecologies.
It’s become commonplace in contemporary culture for critics to proclaim the death of poetry. Poetry, they say, is no longer relevant to the modern world, mortally wounded by the emergence of new media technologies. In Poetry Unbound, Mike Chasar rebuts claims that poetry has become a marginal art form, exploring how it has played a vibrant and culturally significant role by adapting to and shaping new media technologies in complex, unexpected, and powerful ways. Beginning with the magic lantern and continuing through the dominance of the internet, Chasar follows poetry’s travels off the page into new media formats, including silent film, sound film, and television. Mass and nonprint media have not stolen poetry’s audience, he contends, but have instead given people even more ways to experience poetry. Examining the use of canonical as well as religious and popular verse forms in a variety of genres, Chasar also traces how poetry has helped negotiate and legitimize the cultural status of emergent media. Ranging from Citizen Kane to Leave It to Beaver to best-selling Instapoet Rupi Kaur, this book reveals poetry’s ability to find new audiences and meanings in media forms with which it has often been thought to be incompatible. Illuminating poetry’s surprising multimedia history, Poetry Unbound offers a new paradigm for understanding poetry’s still evolving place in American culture.
Structure & Surprise: Engaging Poetic Turns offers a road map for analyzing poetry through examination of poems' structure, rather than their forms or genres. Michael Theune's breakthrough concept encourages students, teachers, and writers to use structure as a tool to see the fundamental affinities between strikingly different kinds of poetry and radically different literary eras. The book includes examination of the mid-course turn and the elegy, as well as the ironic, concessional, emblem, and retrospective-prospective structures, among others. In addition, 14 contemporary poets provide an example of and commentary on their own work.
The long-awaited second collection by a central literary figure, Columbia University professor, and poetry editor of the Boston Review.
Poetry. "So much in g-point almanac: id est (9.22-12.21) is ventured; so much here is profound. Kevin Varrone meets, dares, slips past what is assumed to be reality; language, volant, 'fails, too,' leaving us with 'what's beyond the said thing.' His poetry shivers with hairline fractures, the same as the cities he describes, with familiarities folded into oddnesses. Over and over, he moves us to spaces where we find ourselves surprised that we are so moved. 'How to put it all in,' he asks, 'the hollow earth, three cities, one sheet of paper?' But he does"--Marcella Durand. Varrone is co-founder of Beautiful Swimmer Press. He teaches at Temple University and the University of the Arts in Philadelphia. This is his first full-length collection.
The world is full of copies. This proliferation includes not just the copying that occurs online and the replication enabled by globalization but the works of avant-garde writers challenging cultural and political authority. In Make It the Same, Jacob Edmond examines the turn toward repetition in poetry, using the explosion of copying to offer a deeply inventive account of modern and contemporary literature. Make It the Same explores how poetry—an art form associated with the singular, inimitable utterance—is increasingly made from other texts through sampling, appropriation, translation, remediation, performance, and other forms of repetition. Edmond tracks the rise of copy poetry across media from the tape recorder to the computer and through various cultures and languages, reading across aesthetic, linguistic, geopolitical, and technological divides. He illuminates the common form that unites a diverse range of writers from dub poets in the Caribbean to digital parodists in China, samizdat wordsmiths in Russia to Twitter-trolling provocateurs in the United States, analyzing the works of such writers as Kamau Brathwaite, Dmitri Prigov, Yang Lian, John Cayley, Caroline Bergvall, M. NourbeSe Philip, Kenneth Goldsmith, Vanessa Place, Christian Bök, Yi Sha, Hsia Yü, and Tan Lin. Edmond develops an alternative account of modernist and contemporary literature as defined not by innovation—as in Ezra Pound’s oft-repeated slogan “make it new”—but by a system of continuous copying. Make It the Same transforms global literary history, showing how the old hierarchies of original and derivative, center and periphery are overturned when we recognize copying as the engine of literary change.