By Emily Rosko, Anton Vander Zee
In the world of poetry and poetics over the last century, no notion has been extra alive and contentious than the belief of shape, and no point of shape has extra emphatically backed this marked formal problem than the road. yet what, precisely, is the road? Emily Rosko and Anton Vander Zee’s anthology offers seventy unique solutions that lead us deeper into the realm of poetry, but additionally a ways out into the realm at huge: its humans, its politics, its ecology. The authors integrated the following, rising and tested alike, write from a variety of views, by way of either aesthetics and identification. jointly, they give a dynamic hybrid assortment that captures a vast spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s advent deals a beneficiant evaluation of conversations concerning the line from the Romantics ahead. We come to work out how the road will be an engine for beliefs of progress—political, moral, or another way. For a few poets, the road touches upon the main basic questions of data and life. greater than ever, the road is the unconventional opposed to which even trade and rising poetic kinds that foreground the visible or the auditory, the web page or the display, could be amazing and understood. From the beginning, a novel lesson emerges: strains don't shape that means completely of their brevity or their size, of their turning into or their brokenness; traces dwell in and during the descriptions we provide them. certainly, the heritage of yankee poetry within the 20th century can be instructed via the compounding, and sometimes confounding, discussions of its traces. A damaged factor either displays upon and extends this background, charting a wealthy diffusion of conception and perform into the twenty-first century with the main various, wide-ranging and fascinating set of essays to this point at the line in poetry, revealing how poems paintings and why poetry keeps to subject.
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Extra info for A Broken Thing: Poets on the Line
To be sure, healthy rhetoric against the line by various experimental camps persists in “L=A=N=G=U=A=G=E Lines” alongside a genuine concern for the line. But Perloff misses Bernstein’s subtle commentary on the shrill tone of this debate, a debate that seems somehow stale already in 1988. Furthermore, she fails to mention Lyn Hejinian’s piece, which certainly does anything but call the line into question. In this sense, Perloff seems to animate a debate between dueling camps that the authors she addresses had already begun to think beyond and beneath in crucial ways.
83–97. DuPlessis, Rachel Blau. Blue Studios: Poetry and Its Cultural Work. Tuscaloosa: University of Alabama Press, 2006. East, James, ed. The Humane Particulars: The Collected Letters of William Carlos Williams and Kenneth Burke. Charleston: University of South Carolina Press, 2003. Frank, Robert, and Henry Sayre, eds. The Line in Postmodern Poetry. Urbana: University of Illinois Press, 1988. Friebert, Stuart, David Walker, and David Young, eds. A Field Guide to Contemporary Poetry and Poetics.
Or rather than collapse a conflation of all places into one place: the screen. But what are the possibilities of a new form? — meaning is determined, after all, by sound) a project of individual one-line poems: “help to winter me a small belief ” “i (in)visible” “you bereft believer say you will return” As in the court culture described in The Tale of Genji, poetry and letter writing each become a public art, deliciously shared and responded to. But also allows a bravery. One can cast a thought into the silence.
A Broken Thing: Poets on the Line by Emily Rosko, Anton Vander Zee