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This book reveals how poets within the U.S. multi-ethnic avant-garde give up the goal of narrating one comprehensive, rooted view of cultural reality in favour of constructing coherent accounts of relational, local selves and worlds.
Experimental poetry and prose by black writers rejects traditional interpretations of social protest and identity formation to reveal radical new ways of perceiving the world. Winner, 2016 William Sanders Scarborough Prize, Modern Language Association Standard literary criticism tends to either ignore or downplay the unorthodox tradition of black experimental writing that emerged in the wake of protests against colonization and Jim Crow–era segregation. Histories of African American literature likewise have a hard time accounting for the distinctiveness of experimental writing, which is part of a general shift in emphasis among black writers away from appeals for social recognition or raising consciousness. In Freedom Time, Anthony Reed offers a theoretical reading of "black experimental writing" that presents the term both as a profound literary development and as a concept for analyzing how writing challenges us to rethink the relationships between race and literary techniques. Through extended analyses of works by African American and Afro-Caribbean writers—including N. H. Pritchard, Suzan-Lori Parks, NourbeSe Philip, Kamau Brathwaite, Claudia Rankine, Douglas Kearney, Harryette Mullen, and Nathaniel Mackey—Reed develops a new sense of the literary politics of formally innovative writing and the connections between literature and politics since the 1960s. Freedom Time reclaims the power of experimental black voices by arguing that readers and critics must see them as more than a mere reflection of the politics of social protest and identity formation. With an approach informed by literary, cultural, African American, and feminist studies, Reed shows how reworking literary materials and conventions liberates writers to push the limits of representation and expression.
Lyric Trade digs into how poems use lyric in relation to race, gender, nation, and empire. Engaging with poets such as Gwendolyn Brooks, H.D., Lorine Niedecker, Alice Notley, and Myung Mi Kim, it argues that lyric in the postwar long poem not only registers the ideological contradictions of modernism's insistence on new forms, but that it also maps spaces for formal reimaginings of the subject.
This new edition of Southern Writers assumes its distinguished predecessor's place as the essential reference on literary artists of the American South. Broadly expanded and thoroughly revised, it boasts 604 entries-nearly double the earlier edition's-written by 264 scholars. For every figure major and minor, from the venerable and canonical to the fresh and innovative, a biographical sketch and chronological list of published works provide comprehensive, concise, up-to-date information. Here in one convenient source are the South's novelists and short story writers, poets and dramatists, memoirists and essayists, journalists, scholars, and biographers from the colonial period to the twenty-first century. What constitutes a "southern writer" is always a matter for debate. Editors Joseph M. Flora and Amber Vogel have used a generous definition that turns on having a significant connection to the region, in either a personal or literary sense. New to this volume are younger writers who have emerged in the quarter century since the dictionary's original publication, as well as older talents previously unknown or unacknowledged. For almost every writer found in the previous edition, a new biography has been commissioned. Drawn from the very best minds on southern literature and covering the full spectrum of its practitioners, Southern Writers is an indispensable reference book for anyone intrigued by the subject.
The Plural of Us is the first book to focus on the poet’s use of the first-person plural voice—poetry’s “we.” Closely exploring the work of W. H. Auden, Bonnie Costello uncovers the trove of thought and feeling carried in this small word. While lyric has long been associated with inwardness and a voice saying “I,” “we” has hardly been noticed, even though it has appeared throughout the history of poetry. Reading for this pronoun in its variety and ambiguity, Costello explores the communal function of poetry—the reasons, risks, and rewards of the first-person plural. Costello adopts a taxonomic approach to her subject, considering “we” from its most constricted to its fully unbounded forms. She also takes a historical perspective, following Auden’s interest in the full range of “the human pluralities” in a time of particular pressure for and against the collective. Costello offers new readings as she tracks his changing approach to voice in democracy. Examples from many other poets—including Walt Whitman, T. S. Eliot, Elizabeth Bishop, and Wallace Stevens—arise throughout the book, and the final chapter offers a consideration of how contemporary writers find form for what George Oppen called “the meaning of being numerous.” Connecting insights to philosophy of language and to recent work in concepts of community, The Plural of Us shows how poetry raises vital questions—literary and social—about how we speak of our togetherness.
This book reveals how poets within the U.S. multi-ethnic avant-garde give up the goal of narrating one comprehensive, rooted view of cultural reality in favor of constructing coherent accounts of relational, local selves and worlds.
Addressed to all readers of poetry, this is a wide-ranging book about the poet's role throughout the last three centuries. It argues that a conception of the poets as both primitive and sophisticated emerged in the 1750s. Encouraged by the classroom when English literary works began to be studied in universities, this view continues to shape our own attitudes towards verse. Whether considering Ossian and the Romantics, Victorian scholar-gipsies, Modernist poetries of knowledge, or contemporary poetry in Britian, Ireland, and America, The Modern Poet shows how many successive generations of poets have needed to collaborate and to battle with academia.
Poetry and astronomy often travel together in the political sphere, from Milton's meeting with Galileo under house arrest to NASA's practice of launching poems into space. Anchored in the post-war period but drawing on a long history of poetry and science, Lyric Poetry and Space Exploration from Einstein to the Present charts the surprising connection between poetry and extra-terrestrial space. In an era defined by the vast scales of globalization, environmental disaster, and space travel, poets bring the small scales of lyric intimacy to bear on cosmic immensity. While outer space might seem the domain of more popular genres, lyric poetry has ancient and enduring associations with cosmic inquiry that have made it central to post-war space culture. As the Cold War played out in space, American institutions and media - from NASA to Star Trek - enlisted poetry to present space exploration as a peaceful mission on behalf of humankind. Meanwhile, poets from across the globe have turned to the cosmos to contest American imperialism, challenging conventional ideas about lyric poetry in the process. Poets including Elizabeth Bishop, Adrienne Rich, Seamus Heaney, Derek Walcott, Agha Shahid Ali, and Tracy K. Smith invoke the extra-terrestrial to interrogate national histories alongside their craft. Dazzled by the aesthetics of astronomy but wary of its imperial uses, poets employ astronomical figures and methods to imagine how we might care for both ourselves and others on a shared planet.
This book reads the work of contemporary women poets against recent debates in third wave feminism and democratic theory in exploring the range of ways in which women poets have interrogated the complexities of being public in contemporary U.S culture.