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This anthology includes many of the major poets to have emerged and gained pre-eminence since World War II, and whose writing reflects not only the significant changes in this nation's postwar history, and the coming to grips with a nuclear age, but also an entirely new way of looking at and structuring reality. United by their "postmodernist" concerns with spontaneity, "instantism," formal and syntactic flexibility, and the revelation of both the creator and the process through the writing itself, these 38 poets represent very diverse strains of an essential American individualism. Included are many of the poets whose work first gained widespread national attention with the 1960 publication of The New American Poetry: Charles Olson, Allen Ginsberg, Paul Blackburn, LeRoi Jones (Amiri Baraka), Denise Levertov, Robert Duncan, and others. Among the poets included here for the first time are Anne Waldman, Diane di Prima, Ed Sanders, Jerome Rothenberg, and James Koller. In addition to a new preface by Allen and Butterick, the book provides autobiographical notes of all the poets and listings of their major works.
The Beats, Black Mountain, and New Modes of American Poetry explores correspondences amongst the Black Mountain and Beat Generation writers, two of most well-known and influential groups of poets in the 1950s. The division of writers as Beat or Black Mountain has hindered our understanding of the ways that these poets developed from mutual influences, benefitted from direct relations, and overlapped their boundaries. This collection of academic essays refines and adds context to Beat Studies and Black Mountain Studies by investigating the groups’ intersections and undercurrents. One goal of the book is to deconstruct the Beat and Black Mountain labels in order to reveal the shifting and fluid relationships among the individual poets who developed a revolutionary poetics in the 1950s and beyond. Taken together, these essays clarify the radical experimentation with poetics undertaken by these poets.
Poetry. Anthology. AN ANTHOLOGY OF NEW (AMERICAN) POETS features the work of thirty-five young poets who represent "a new opening of the field for American poetry [and] a turn to living figures and essential issues" --Paul Hoover. The poems are characteristically aware of the traditions they are falling out of step with, making a "'thinking' compendium of the planetary poetry scene and a boon to the ongoing struggle to keep the world safe for poetry" --Anne Waldman. The Anthology is co-edited by Lisa Jarnot, Leonard Schwartz and Chris Stroffolino, and contains work by Lee Ann Brown, Candace Kaucher, Jeffrey McDaniel, Claire Needell, Mark Nowak, Edwin Torres and many more.
Intense, resonant, and deeply literary, this account of an American poetics shows how today's consumerist and conformist culture subverts the imagination of a free people. Poetry, the author maintains, is central to any coherent vision of life.
This comprehensive chronological anthology includes 58 essays on poetry by 53 poets. Starting with James Weldon Johnson and Robert Frost, the book offers diverse and often conflicting accounts of the nature and function of poetry. The collection includes rarely anthologized essays by Jack Spicer, Rhina Espaillat, Anne Stevenson, and Ron Silliman, as well as work by some of the finest younger critics in America, including William Logan, Alice Fulton, and Christian Wiman.
"Donald Allen's prophetic anthology had an electrifying effect on two generations, at least, of American poets and readers. More than the repetition of familiar names and ideas that most anthologies seem to be about, here was the declaration of a collective, intelligent, and thoroughly visionary work-in-progress: the primary example for its time of the anthology-as-manifesto. Its republication today--complete with poems, statements on poetics, and autobiographical projections--provides us, again, with a model of how a contemporary anthology can and should be shaped. In these essentials it remains as fresh and useful a guide as it was in 1960."--Jerome Rothenberg, editor of Poems for the Millennium "The New American Poetry is a crucial cultural document, central to defining the poetics and the broader cultural dynamics of a particular historical moment."--Alan Golding, author of From Outlaw to Classic: Canons in American Poetry
What is more direct and intimate than one-to-one conversation? Here two forces in American poetry, the Kenyon Review and the University of Arkansas Press, bring together discussions between one of America's leading poets and editors, David Baker, and nine of the most exciting poets of our day. The poets, who represent a wide array of vocations and aesthetic positions, open up about their writing processes, their reading and education, their hopes for and discontents with the contemporary scene, and much more, treating readers to a view of the range and capacity of contemporary American poetry.
For more than fifty years, in literary circles certainly, "Buffalo" has signaled not just the rust belt city in western New York but an active center for poetry and speculative poetics in America. Beginning in 1963 with the arrival on campus of Charles Olson, followed a few years later by Robert Creeley, the State University of New York at Buffalo was the academic home for transgressive literary thought and expansive poetries and fictions. At Buffalo, a collection of memorial pieces and interviews, traces this development from the Olson years and Creeley's long tenure through the founding in 1991 by Creeley and Susan Howe of the Poetics Program and the eventual creation of the Electronic Poetry Center and Charles Bernstein's Electronic Poetry List. Today, under the guidance of Myung Mi Kim, the program continues to thrive as part of the expanded network of poetic activities around the city. There is a great deal of documentary material and historical detail here. Best, though, are the personal accounts by faculty and students of the challenging, even dizzying, literary and intellectual activity that made Buffalo Buffalo.