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For centuries, critics, poets, poet-scholars, and philosophers have either openly proclaimed or tacitly assumed the long poem as the highest expression of literary ambition and excellence. Rethinking the North American Long Poem focuses on the North American variant of this notorious form—notorious because of its often forbidding and difficult character, particularly with respect to the dialectics of content and form, aesthetics and politics, matter and genre. In nine essays and a contextual introduction, the editors and contributors scrutinize seminal long poems by North American writers, including Walt Whitman’s “Song of Myself,” Ezra Pound’s The Cantos, Muriel Rukeyser’s The Book of the Dead, and Charles Olson’s The Maximus Poems. They also explore recent efforts that have redefined or reopened the case of the long poem, including Rachel Blau DuPlessis’s Drafts, M. NourbeSe Philip’s Zong!, and Claudia Rankine’s Citizen. Taking the categories of form, matter, and experiment as frames of conceptual reference, the book examines the ways in which material and immaterial aspects of literary practice and the philosophically and politically inscribed duality of experience and experiment are negotiated in and by North American long poems from the nineteenth century to the present.
Provides resources for teaching elementary and secondary school students about Christopher Columbus and the discovery of America.
In all cultures and times, the poetic imagination has fed on the natural attributes of islands. An island is either a destination, or a home, or a place of exile and imprisonment, or simply a place to sojourn. It is an ideal vehicle for journeys treated as allegories, or for acts of finding that turn into acts of losing, or the reverse transformation. An island is not a continent; yet it can be an archipelago. An island is both a place in itself and a pretext for imaginings that need a local habitation and a name. It can give relief, and pleasure; or it can frustrate, isolate, and negate. Above all, it both invites and resists - or contains or constrains - the imagination. Poetry and Islands explores how islands become repositories of human longings and desires, a locus for some of our deepest fears and fantasies. It balances historical and geographical reference with a selective approach to poems and poets in English, and in translations into English. The study of particular poems in which islands figure in exemplary ways is balanced by a more detailed discussion of the poets who have played a major role in shaping human responses to islands on a global scale.
"In A Long Essay on the Long Poem, DuPlessis invokes a quote from Ronald Johnson: "Americans like to write big poems, even if people don't read them." It's a joke, in part, but also a telling indication of the difficulty of the subject. Long poems are elusive, particularly in the slippery forms that have emerged in the postmodern mode. DuPlessis quotes both Nathaniel Mackey and Anne Waldman in metaphorizing the poem as a Box: both in the sense of a vessel that contains, and as a machine that processes, an instrument on which language is played. To reckon with a particularly noncompliant variant of a notoriously slippery form, DuPlessis works in a polyvalent mode, a hybrid of critical analysis and speculative essay. She resists a single-focus approach to the long poem and does not venture a bravura, one-size-all thesis. Yet there is an arc of argument here, even as the book ranges across five chapters and a host of disparate writers. DuPlessis roughly divides the long poem and the long poets into three genres: epics, quests, and something she terms "assemblages." The poets surveyed will be familiar for most readers of twentieth-century American and English poetry: T. S. Eliot, Ezra Pound, Louis Zukofsky, Charles Olson, Alice Notley, Anne Waldman, Nathaniel Mackey, Ron Silliman, and Robert Duncan. But rather than attempting a definitive treatment of such a long roster, DuPlessis assumes a certain familiarity in order to focus on key works. A standout example comes in the third chapter, in which DuPlessis reads Dante by way of the modern long poem to generate surprising insights. But she also carefully avoids the self-confirming search for genealogical patterns (e.g., Eliot to Pound to Williams to Zukofsky). Instead she deliberately seeks to see different but intersecting patterns of connection between poems, a nexus rather than a lineage. In doing so she works around the metatextual challenge of the long poem and of her own attempt to "essay" it: how to encompass "everything." The end result is a fascinating and generous work that defies neat categorization as anything other than essential"--
Give students the power of language by using the inspiring ideas in this very readable book.
This book is a critical experiment that tracks the literary and poetic uses of musical notation and notational methods in North American long poems from the middle of last century to the contemporary moment. Poets have readily referred to their poems as “scores.” Yet, in this study, Carruthers argues that the integration of musical scores in expansive works of this period does more work than previously thought, offering both resolution and escape from the demands placed on long poem form. The five case studies, on Langston Hughes, Armand Schwerner, BpNichol, Joan Retallack and Anne Waldman, offer approaches to reading literary scores in what might be described as a critical stave or a critical “fugue” of instances. In differing ways, musical notation and notational methods impact the form, time and sometimes the ethical and political stances of these respective long poems.
This book examines the poetics of the 20th-century American West depicted by Edward Dorn through the influence and inspiration of his Black Mountain College mentor and fellow poet Charles Olson. It considers some of the most important and challenging poetic representations of the 20th-century American West to come out of the Beat Movement and avant-garde literary scene.
Why have so many contemporary poets turned to source material, from newspapers to governmental records, as inspiration for their poetry? How can citational poems offer a means of social engagement? Contested Records analyzes how some of the most well-known twenty-first century North American poets work with fraught documents. Whether it’s the legal paperwork detailing the murder of 132 African captives, state transcriptions of the last words of death row inmates, or testimony from miners and rescue workers about a fatal mine disaster, author Michael Leong reveals that much of the power of contemporary poetry rests in its potential to select, adapt, evaluate, and extend public documentation. Examining the use of documents in the works of Kenneth Goldsmith, Vanessa Place, Amiri Baraka, Claudia Rankine, M. NourbeSe Philip, and others, Leong reveals how official records can evoke a wide range of emotions—from hatred to veneration, from indifference to empathy, from desire to disgust. He looks at techniques such as collage, plagiarism, re-reporting, and textual outsourcing, and evaluates some of the most loved—and reviled—contemporary North American poems. Ultimately, Leong finds that if bureaucracy and documentation have the power to police and traumatize through the exercise of state power, then so, too, can document-based poetry function as an unofficial, counterhegemonic, and popular practice that authenticates marginalized experiences at the fringes of our cultural memory.
This is the first complete narrative history of nineteenth-century American poetry. Barbara Packer explores the neoclassical and satiric forms mastered by the early Federalist poets; the creative reaches of once-celebrated, and still compelling, poets like Longfellow and Whittier; the distinctive lyric forms developed by Emerson and the Transcendentalists. Shira Wolosky provides a new perspective on the achievement of female poets of the period, as well as a close appreciation of African-American poets, including the collective folk authors of the Negro spirituals. She also illuminates the major works of the period, from Poe through Melville and Crane, to Whitman and Dickinson. The authors of this volume discuss this extraordinary literary achievement both in formal terms and in its sustained engagement with changing social and cultural conditions. In doing so they recover and elucidate American poetry of the nineteenth century for our twenty-first century pleasure, profit, and renewed study.
An essential guide to understanding literary theory and criticism in the European tradition What is Literature? A Critical Anthology explores the most fundamental question in literary studies. ‘What is literature?’ is the name of a problem that emerges with the idea of literature in European modernity. This volume offers a cross-section of modern literary theory and reflects on the history of thinking about literature as a specific form. What is Literature? reveals how ideas of the literary draw on the foundations of Western thought in ancient Greece and Rome, charting the emergence of modern literature in the eighteenth century, and including selections from the present state of the art. The anthology includes the work of leading writers and critics of the last two thousand years including Plato, Henry James, Virginia Woolf, Edward Said, Gayatri Chakravorty Spivak, Jacques Rancière, and many others. The book is an insightful examination of the nature of literature, its meanings and values, functions and forms, provocations and mysteries. What is Literature? brings together in one volume influential and intriguing essays that show our enduring fascination with the idea of literature. This important guide: Contains a broad selection of the most significant texts on the topic of literature Includes leading writers from ancient times to the most recent thinkers on literature and criticism Encourages readers to reflect on the varied meanings of “literature” What is Literature? A Critical Anthology is a unique collection of texts that will appeal to every student and scholar of literature and literary criticism in the European tradition.