Brings together the study of literature with the psychology and history of religions.

The Transmutation of Love and Avant-Garde Poetics is a probing examination of how the writing of sexual love undergoes a radical revision by avant-garde poets in the twentieth and twenty-first centuries. Today, the exploration of love by poets—long a fixture of Western poetic tradition—is thought to be in decline, with love itself understood to be a mere ideological overlay for the more “real” entities of physical sex and desire. In The Transmutation of Love and Avant-Garde Poetics, Jeanne Heuving claims that a key achievement of poetry by Ezra Pound, H.D., Robert Duncan, Kathleen Fraser, Nathaniel Mackey, and others lies significantly in their engagement with the synergistic relations between being in love and writing love. These poets, she argues, have traded the clichéd lover of yore for impersonal or posthuman poetic speakers that sustain the gloire and mystery of love poetry of prior centuries. As Robert Duncan writes, “There is a love in which we are outcast and vagabond from what we are that we call ‘falling in love.’” Heuving claims that this writing of love is defining for avant-garde poetics, identifying how such important discoveries as Pound’s and H.D.’s Imagism, Pound’s Cantos, and Duncan’s “open field poetics” are derived through their changed writing of love. She draws attention to how the prevailing concept of language as material is inadequate to the ways these poets also engage language as a medium—as a conduit—enabling them to address love afresh in a time defined through preoccupations with sexuality. They engage love as immanent and change it through a writing that acts on itself. The Transmutation of Love and Avant-Garde Poetics ascribes the waning of love poetry to its problematic form: a genre in which empowered poetic speakers constitute their speech through the objectification of comparatively disempowered subjects, or beloveds. Refusing this pervasive practice, the poets she highlights reject the delimiting, one-sided tradition of masculine lovers and passive feminine beloveds; instead, they create a more nuanced, dynamic poetics of ecstatic exploration, what Heuving calls “projective love” and “libidinized field poetics,” a formally innovative poetry, in which one perception leads directly to the next and all aspects of a poem are generative of meaning.

In this rigorous and provocative study, Joe E. Morrisargues that the basic tenets and practices of Fundamentalism are those of ancient Christian Gnosticism. Drawing on extensive research andcareful analysis, Morris aligns the two religious phenomena, point by point, tenet by tenet.Along the way, he provides insights into the key hermeneutic of Fundamentalism: inerrancy of Scripture, highlighting the multiple problems with the positions of literal and inerrant interpretation, their impracticality and unfeasibility, and their contradiction with their own conservative doctrine - namely, the Incarnation of Jesus Christ. This groundbreaking book dramatically recasts our understanding of the history of Christianity and gives important context to modern-day religious debates.

To Go Into the Words is the latest book of critical prose from renowned poet and scholar of Jewish literature Norman Finkelstein. Through a rigorous examination of poets such as William Bronk, Helen Adam, and Nathaniel Mackey, the book engages the contemporary poetic fascination with transcendence through the radical delight with language. By opening up a given poem, Finkelstein seeks the “gnosis” or insight of what it contains so that other readers can understand and appreciate the works even more. Pulling from Finkelstein’s experience of writing thirteen books of poetry and six books of literary criticism, To Go Into the Words consistently rewards the reader with insights as transformative as they are well-considered and deftly mapped out. This volume opens the world of poetry to poets, scholars, and readers by showcasing “the gnosis that is to be found in modern poetry.”

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Wallace Stevens' "dark rabbi," from his poem "Le Monocle de Mon Oncle," provides a title for this collection of essays on the "lordly study" of modern Jewish poetry in English. Including chapters on such poets as Charles Reznikoff, Allen Grossman, Chana Bloch, and Michael Heller, this volume explores the tensions between religious and secular worldviews in recent Jewish poetry, the often conflicted linguistic and cultural matrix from which this poetry arises, and the complicated ways in which Jewish tradition shapes the sensibilities of not only Jewish, but also non-Jewish, poets. Finkelstein, described as "one of American poetry's indispensible makers" (Lawrence Joseph), whose previous critical work has been called "the exemplary study of the religious aspect of the works of contemporary American poets" (Peter O'Leary), considers large literary and cultural trends while never losing sight of the particular formal powers of individual poems. In Like a Dark Rabbi he offers a passionate argument for the importance of Jewish-American poetry to modern Jewish culture-and to American poetry-as it engages with the contradictions of contemporary life.

Over the last sixty years scholars and critics have focused on literary history and interpretation rather than literary value. When value is addressed, the standards are usually political and identitarian. The essays collected in both volumes of Evaluations of US Poetry since 1950 move away from esoteric literary criticism toward a more evaluative and speculative inquiry that will serve as the basis from which poets will be discussed and taught over the next half-century and beyond. Von Hallberg and Faggen have curated a diverse selection of authors to explore this topic. Volume 1 focuses on voice, language, form, and musicality. Stephen Yenser writes about Elizabeth Bishop, Stephanie Burt about C. D. Wright, Nigel Smith about Paul Simon, and Marjorie Perloff about Charles Bernstein, among others. The essays do not provide an exhaustive survey of recent poetry. Instead, Evaluations of US Poetry since 1950 presents readers with more than thirty different models of literary absorption and advocacy. This is done in explicit hope of reorienting the criticism of poetry.