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Brings together four decades of largely unpublished work by Jackson, exploring the rationale for her renunciation of poetry in 1941 after two decades as a poet
This impressive volume provides over 1,700 biographical entries on poets writing in English from 1910 to the present day, including T. S. Eliot, Dylan Thomas, and Carol Ann Duffy. Authoritative and accessible, it is a must-have for students of English and creative writing, as well as for anyone with an interest in poetry.
This book takes up the utopian desire for a perfect language of words that give direct expression to the real, known in Western thought as Cratylism, and its impact on the social visions and poetic projects of three of the most intellectually ambitious of American writers: Walt Whitman, Laura (Riding) Jackson, and Charles Olson.
This book argues that Coleridge's most important philosophical ideas were expressed not through theoretical argument but through his poems.
Writing Not Writing is both a detailed analysis of four individual poets who left poetry behind and a theoretically provocative exploration of the political and ethical possibilities of silence, not-doing, and disavowal. Reading the silences of George Oppen, Carl Rakosi, and Bob Kaufman, the renunciation of Laura Riding, and other more contemporary instances and modes of poetic abnegation, Tom Fisher explores silence, refusal, and disavowal as political and ethical modes of response in a time of continuous crisis. Through a turn away from writing, these poets offer strategies of refusal and departure that leave anagrammatical hollows behind, activating the negational capacities of writing and aesthetics to disrupt the empire of sense, speech, and agency.
"Difficult Ornaments is a book about six twentieth-century American poets, the mythical Florida they explored, and the American tropical style they created. Wallace Stevens, Marianne Moore, Elizabeth Bishop, James Merrill, and Harry Mathews compose a chain of friendship and influence. Only Laura (Riding) Jackson stands apart as a poet who renounced poetry and became a recluse on a citrus farm. In proximity to the tropics-nature's own laboratory of invention and experiment-the more fecund and experimental their poetry became. The ornaments of poetry correspond to the ornaments of nature, which is why the peacock, that most decorated of birds, features so prominently their work. These seven essays comprise a lyrical meditation on literary style that ranges through history and myth, in order to better understand the relationship between persons and places, weather and language, the climate of the planet and the climate of the mind"--
The Promises of Glass, Michael Palmer's first new collection since At Passages (New Directions, 1995), contains seven sections: "The White Notebook", "The Promises of Glass", "Q", "Four Kitaj Studies", "Five Easy Poems" "In an X", and "Tower". These gorgeous new poems explore language and the "salt sea of autobiographies". His work also examines what Marjorie Perloff has described as "the absurdist 'displacement by degrees' one experiences in the post-urban world of late twentieth-century America."
From one of the most innovative and acclaimed biblical commentators at work today, here is a revolutionary analysis of the intersection between religion and psychoanalysis in the stories of the men and women of the Bible. For centuries scholars and rabbis have wrestled with the biblical narrative, attempting to answer the questions that arise from a plain reading of the text. In The Murmuring Deep, Avivah Zornberg informs her literary analysis of the text with concepts drawn from Freud, Winnicott, Laplanche, and other psychoanalytic thinkers to give us a new understanding of the desires and motivations of the men and women whose stories form the basis of the Bible. Through close readings of the biblical and midrashic texts, Zornberg makes a powerful argument for the idea that the creators of the midrashic commentary, the med­ieval rabbinic commentators, and the Hassidic commentators were themselves on some level aware of the complex interplay between conscious and unconscious levels of experience and used this knowledge in their interpretations. In her analysis of the stories of Adam and Eve, Noah, Jonah, Abraham, Rebecca, Isaac, Joseph and his brothers, Ruth, and Esther–how they communicated with the world around them, with God, and with the various parts of their selves–Zornberg offers fascinating insights into the interaction between consciousness and unconsciousness. In discussing why God has to “seduce” Adam into entering the Garden of Eden or why Jonah thinks he can hide from God by getting on a ship, Zornberg enhances our appreciation of the Bible as the foundational text in our quest to understand what it means to be human.
Valedictory addresses offer a way to conceptualize the relation of self to others, private to public, ephemeral to eternal. Whether deathbed pronouncements, political capitulations, or seafaring farewells, "parting words" played a crucial role in the social imagination of Victorian writing. In this compelling new book, Justin Sider traces these public addresses across a wide range of works, from poems by Byron, Tennyson, and Browning, to essays by Twain and Wilde, to novels by Dickens and Eliot. Ironically, while the Victorian era saw the loss of faith in a unitary national public, it asked poetry to address just such a public. Attending to the form, rather than the discursive content, of poets' engagement with public culture, Parting Words explains how the valedictory allowed Victorian poets to explore the ways their poems might be received by distant and anonymous readers in an emergent mass culture. Using a wide array of materials such as letters and reviews to describe the rapidly changing print culture in which poets were intervening, Sider shows how the growing diversification and destabilization of the Victorian reading public was countered by the demand for a public poetry. Characteristically, the speakers of Tennyson's "Ulysses" and Matthew Arnold's "Empedocles on Etna" imagine their farewells as simultaneous entrances into a public space where they and their readers, however distant, might yet meet. This new consciousness anticipated modernist poetry, which in turn used the valedictory to underscore the futility and alienation of such hopes.
Taking seriously Guillaume Apollinaire's wager that twentieth-century poets would one day "mechanize" poetry as modern industry has mechanized the world, Carrie Noland explores poetic attempts to redefine the relationship between subjective expression and mechanical reproduction, high art and the world of things. Noland builds upon close readings to construct a tradition of diverse lyricists--from Arthur Rimbaud, Blaise Cendrars, and René Char to contemporary performance artists Laurie Anderson and Patti Smith--allied in their concern with the nature of subjectivity in an age of mechanical reproduction.