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What do we mean when call something a lyric poem? How many kinds of lyric are there? Are there fewer now than there were in 1920 or 1820 or 1620? The purpose of Forms of Late Modernist Lyric is to show that our oldest styles of poetic articulation – the elegy, the ode, the hymn – have figured all too briefly in modern genealogies of lyric, and that they have proved especially seductive, curiously enough, to avant-garde practitioners in the Anglophone tradition. The poets in question – Jorie Graham, Frank O’Hara, Michael Haslam, J. H. Prynne, Claudia Rankine, and others – have thickened the texture of lyric practice at a time when the growing tendency in critical circles has been to dissolve points of difference within the genre itself. The broader aim of this volume is to demonstrate that experimental poets since 1945 have not always been rebarbative and anti-traditional, but rather that their recourse to familiar forms and shapes of thought should prompt us to reconsider late modernism as a crucial phase in the evolving history of lyric. CONTRIBUTORS: Ruth Abbott, Edward Allen, Gareth Farmer, Fiona Green, Drew Milne, Jeremy Noel-Tod, Sophie Read, Matthew Sperling, Esther Osorio Whewell, John Wilkinson
Set against the cultural and political backdrop of interwar Europe and the Americas, Poetry in Pieces is the first major study of the Peruvian poet César Vallejo (1892–1938) to appear in English in more than thirty years. Vallejo lived and wrote in two distinct settings—Peru and Paris—which were continually crisscrossed by new developments in aesthetics, politics, and practices of everyday life; his poetry and prose therefore need to be read in connection with modernity in all its forms and spaces. Michelle Clayton combines close readings of Vallejo’s writings with cultural, historical, and theoretical analysis, connecting Vallejo—and Latin American poetry—to the broader panorama of international modernism and the avant-garde, and to writers and artists such as Rainer Maria Rilke, James Joyce, Georges Bataille, and Charlie Chaplin. Poetry in Pieces sheds new light on one of the key figures in twentieth-century Latin American literature, while exploring ways of rethinking the parameters of international lyric modernity.
In the late nineteenth and early twentieth centuries, modernist writers developed new techniques for depicting characters' thoughts, feelings, and desires that revolutionized the novel form—a revolution novelists and critics are still reckoning with today. Troubling Late Modernism tracks how those techniques have been perversely reinvented by some of the most influential and innovative writers of the postwar period. Chapters on Vladimir Nabokov, Samuel Beckett, Toni Morrison, John Banville, J. M. Coetzee, and Eimear McBride reveal how these writers at once exploit and extend modernist forms of narration to cultivate disquieting affective attachments to protagonists compelled by violent or exploitative sexual desires. By interrogating the expressive power and ethical liabilities of modes of writing that give us intimate access to characters' inner lives, late modernism poses fundamental philosophical questions about emotion and its inseparability from knowledge and ethical deliberation. Whilst other historians of the novel have characterized late modernism's formal innovations as ethically and politically edifying, Troubling Late Modernism highlights their more disquieting potential for lending sympathy and profundity to sentiments deemed inadmissible in our everyday lives. Charting late modernism's characteristic fusion of aesthetic difficulty with emotional and ethical provocation demands an approach attuned to the experience of reading these disturbingly erotic narratives. In dialogue with recent debates about critical method, Troubling Late Modernism presents a new way of closely reading prose fiction that brings together the lessons of formalism and affect theory.
This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorisations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily re-activates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late twentieth-century poetry of Denise Riley who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon who has collaborated with photographers and artists, as well as ventriloquising nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.
Over the past thirty years, narrative poems have made a comeback against the lyric approach to poetry that has dominated the past century. Drawing on a decade of conferences and critical seminars on the topic, The Contemporary Narrative Poem examines this resurgence of narrative and the cultural and literary forces motivating it. Gathering ten essays from poet-critics who write from a wide range of perspectives and address a wide range of works, the collection transcends narrow conceptions of narrative, antinarrative, and metanarrative. The authors ask several questions: What formal strategies do recent narrative poems take? What social, cultural, and epistemological issues are raised in such poems? How do contemporary narrative poems differ from modernist narrative poems? In what ways has history been incorporated into the recent narrative poetry? How have poets used the lyric within narrative poems? How do experimental poets redefine narrative itself through their work? And what role does consciousness play in the contemporary narrative poem? The answers they supply will engage every poet and student of poetry.
Genre in Archaic and Classical Greek Poetryforegrounds innovative approaches to the question of genre, what it means, and how to think about it for ancient Greek poetry and performance. Embracing multiple definitions of genre and lyric, the volume pushes beyond current dominant trends within the field of Classics to engage with a variety of other disciplines, theories, and models. Eleven papers by leading scholars of ancient Greek culture cover a wide range of media, from Sappho's songs to elegiac inscriptions to classical tragedy. Collectively, they develop a more holistic understanding of the concept of lyric genre, its relevance to the study of ancient texts, and its relation to subsequent ideas about lyric.
This book explores the intersection between the recent work on queer temporality and the experiments of literary modernism. Kate Haffey argues that queer theory’s recent work on time owes a debt to modernist authors who developed new ways of representing temporality in their texts. By reading a series of early twentieth-century literary texts from modernists like Woolf, Eliot, Faulkner, and Stein alongside contemporary authors, this book examines the way in which modernist writers challenged narrative conventions of time in ways that both illuminate and foreshadow current scholarship on queer temporality. In her analyses of contemporary novelists and critics Michael Cunningham, Jeanette Winterson, Angela Carter, and Eve Sedgwick, Haffey also shows that these modernist temporalities have been reconfigured by contemporary authors to develop new approaches to futurity.
Woolf Editing / Editing Woolf focuses on Woolf as editor both of her own work and of the Hogarth Press, and on editing Woolf—on the conflation of textual and theoretical criticism of Woolf’s oeuvre. Since many contributors are editors, creative writers, and critics, contributions highlight the intersections of those three roles. The essays variously addressed the “granite” of close textual reading and the “rainbow” of theoretical approaches to Woolf’s writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver’s contribution in memory of Julia Briggs opens the volume, and James Haule’s contribution concludes it.
As a study of lyric poetry, in English, from the early modern period to the present, this book explores one of the most ancient and significant art forms in Western culture as it emerges in its various modern incarnations. Combining a much-needed historicisation of the concept of lyric with an aesthetic and formal focus, this collaboration of period-specialists offers a new cross-historical approach. Through eleven chapters, spanning more than four centuries, the book provides readers with both a genealogical framework for the understanding of lyric poetry within any particular period, and a necessary context for more general discussion of the nature of genre.
After Ontology identifies the uniquely postmodern elements in hermeneutics and deconstruction in order to re-read many of the central texts in modernist literature. In a comparative study that illuminates points of contact between the philosophical positions of Gadamer and Derrida, William D. Melaney discusses Heidegger's influence on both Gadamer's ontological approach to the work of art and Derrida's transformative approach to the cultural text as implicitly postmodern. The difference between these two approaches is presented through a mutual critique of modern aesthetics that demonstrates how deconstruction can contribute to postmodern criticism. The poetry of Eliot, Pound, and Yeats is examined within this framework, while the crucial example of Joyce is taken up in terms of the production and reception of Ulysses as a seminal influence. The study concludes by emphasizing how Derrida provides an ethical version of hermeneutics that departs from Gadamerian models but can be reconciled with both postmodern insights and historical research.