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The process of poetry has importantly intuitive aspects and poetry embodies an ambivalence towards consciousness and towards those activities of thought in which it is constituted. It was ability to favour doubt over the productions of the rational mind that led Keats to associate poetry with his ‘negative capability’. Consciousness is – like poetry – a floating signifier, a term of wide reference, and with a range of implications in the various disciplinary contexts in which it finds currency. Poetry, consciousness and community is about poetry, consciousness and community, about their reflexive relationships in process, and about how these relationships matter to the world today and to worlds to come. This book is interested in the nature of poetic, as opposed to other, thought; it is interested in the critical application of these forms of thought to each others’ productions, and in how poetic thought might or might not be subject to its own regime. Poetry – as practice of testing the limits of language – entails a reflexive goal: that of understanding the journey in words made possible for, and by, the poem. Poetic meaning and truth are revealed between languages (likewise between genres, between texts, between subjects); it is in this inter-subjective and inter-cultural space that the limits of language (and so of conceivable worlds) are found.
Table of Contents I. Epistle The Gift Persimmons The Weight Of Sweetness From Blossoms Dreaming Of Hair Early In The Morning Water Falling: The Code Nocturne My Indigo Irises Eating Alone II. Always A Rose III. Eating Together I Ask My Mother To Sing Ash, Snow, Or Moonlight The Life The Weepers Braiding Rain Diary My Sleeping Loved Ones Mnemonic Between Seasons Visions And Interpretations
Modernist aesthetics have been identified with a sense of cultural crisis, defined by its distance from an ideal of unified consciousness. This original study examines the struggle toward that ideal of unitary subjective experience in modern British and Irish poetry from Hardy to Ted Hughes. Hugh Underhill argues that the poetry's emphasis on inner states underrepresents the extent to which the crisis is in fact socio-historically determined.
We Borrowed Gentleness interrogates the innateness of pain and forms of destruction—through natural disaster, through God, through family, and through the power structures and patriarchal violence that embeds itself in language and cultural memory. Poems critique and challenge the patriarchal narratives that dominate American history. The poems leave the question open of whether man, men, a father and son, are redeemable after the surge of rising white nationalism in America. And yet, there are poems that find, still, bits of joy and perhaps a shred of hope. By juxtaposing poems of louder narrative imagination with quieter poems that explore intimate failings within a family, often portrayed with a realist aesthetic, the book attempts to work through the essential fault in man, in men—in the structures that they design and maintain.
Thrall examines the deeply ingrained and often unexamined notions of racial difference across time and space. Through a consideration of historical documents and paintings, Natasha Trethewey--Pulitzer-prize winning author of Native Guard--highlight the contours and complexities of her relationship with her white father and the ongoing history of race in America.
"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--
What does it mean to claim your space in a world that’s ending? Sarah M. Sala’s Devil’s Lake breaks open the American moment of unchecked gun violence, climate changes, and the growing rift between "us" and "them" with formal daring. Like a prism, this startling debut fractures into shades of possibility and memory, queering science, nature, and form to lay bare the colors of joy despite a world that seems intent on its destruction.
FINALIST FOR THE 2021 PULITZER PRIZE FOR POETRY “An undisputed literary event.” —NPR “History—with its construction and its destruction—is at the heart of In the Lateness of the World. . . . In [it] one feels the poet cresting a wave—a new wave that will crash onto new lands and unexplored territories.” —Hilton Als, The New Yorker Over four decades, Carolyn Forché’s visionary work has reinvigorated poetry’s power to awaken the reader. Her groundbreaking poems have been testimonies, inquiries, and wonderments. They daringly map a territory where poetry asserts our inexhaustible responsibility to one another. Her first new collection in seventeen years, In the Lateness of the World is a tenebrous book of crossings, of migrations across oceans and borders but also between the present and the past, life and death. The world here seems to be steadily vanishing, but in the moments before the uncertain end, an illumination arrives and “there is nothing that cannot be seen.” In the Lateness of the World is a revelation from one of the finest poets writing today.