By Emily Rosko, Anton Vander Zee
In the world of poetry and poetics during the last century, no inspiration has been extra alive and contentious than the assumption of shape, and no element of shape has extra emphatically subsidized this marked formal problem than the road. yet what, precisely, is the road? Emily Rosko and Anton Vander Zee’s anthology provides seventy unique solutions that lead us deeper into the area of poetry, but additionally some distance out into the area at huge: its humans, its politics, its ecology. The authors incorporated the following, rising and tested alike, write from a number views, by way of either aesthetics and id. jointly, they give a dynamic hybrid assortment that captures a huge spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s creation deals a beneficiant evaluate of conversations concerning the line from the Romantics ahead. We come to work out how the road can be an engine for beliefs of progress—political, moral, or in a different way. For a few poets, the road touches upon the main basic questions of data and lifestyles. greater than ever, the road is the novel opposed to which even exchange and rising poetic types that foreground the visible or the auditory, the web page or the reveal, could be extraordinary and understood. From the beginning, a novel lesson emerges: strains don't shape which means exclusively of their brevity or their size, of their changing into or their brokenness; traces reside in and during the descriptions we supply them. certainly, the background of yankee poetry within the 20th century can be advised through the compounding, and sometimes confounding, discussions of its traces. A damaged factor either displays upon and extends this heritage, charting a wealthy diffusion of thought and perform into the twenty-first century with the main diversified, wide-ranging and fascinating set of essays to this point at the line in poetry, revealing how poems paintings and why poetry keeps to topic.
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Extra info for A Broken Thing: Poets on the Line
Bruce Andrews revisits and refines his 1988 piece that appeared in The Line in Postmodern Poetry, filling out his previous essay via generous inter- and intrasentence glosses that highlight the reception, rather than production, of lines. ” Yet he maintains a sobering sense of how poetic lines and the theorizing that surrounds them so often fail to gauge and reconfigure the social: “but don’t we want to get off the surface,” he writes, interrupting his own heady theoretical riff more than two decades later.
Andrews | 41 3. So, for a reading, what could set itself up as a different kind of apprehension & ground for judgment — as a countering, an unorthodoxy on [& of ] lines of space & time? What would facilitate new starts: Better, constant crease & flux, a radical discontinuity as lack, jeopardizes before & after, stop & start, a dynamic in fragments, suggesting an unmappable space, no coordinates, troubling us to locate ourselves in formal terms. Polyrhythms’ spatial counterpart, lack of (regular, traditional) closure as generative, tensions restored.
Stephen Orgel and Jonathan Goldberg. Oxford: Oxford University Press, 1991. Olson, Charles. The Maximus Poems. Berkeley: University of California Press, 1985. Perloff, Marjorie. ” Close Listening: Poetry and the Performed Word. Ed. Charles Bernstein. Oxford: Oxford University Press, 1998. 86–110. ———. 4 (Winter 1981): 855–868. Rosko, Emily, and Anton Vander Zee, eds. ” Center: A Journal of the Literary Arts (2008): 47–145. Scully, James. Line Break: Poetry as Social Practice. Willimantic, CT: Curbstone Press, 1988.
A Broken Thing: Poets on the Line by Emily Rosko, Anton Vander Zee