In Reading Duncan Reading, thirteen scholars and poets examine, first, what and how the American poet Robert Duncan read and, perforce, what and how he wrote. Harold Bloom wrote of the searing anxiety of influence writers experience as they grapple with the burden of being original, but for Duncan this was another matter altogether. Indeed, according to Stephen Collis, “No other poet has so openly expressed his admiration for and gratitude toward his predecessors.” Part one emphasizes Duncan’s acts of reading, tracing a variety of his derivations—including Sarah Ehlers’s demonstration of how Milton shaped Duncan’s early poetic aspirations, Siobhán Scarry’s unveiling of the many sources (including translation and correspondence) drawn into a single Duncan poem, and Clément Oudart’s exploration of Duncan’s use of “foreign words” to fashion “a language to which no one is native.” In part two, the volume turns to examinations of poets who can be seen to in some way derive from Duncan—and so in turn reveals another angle of Duncan’s derivative poetics. J. P. Craig traces Nathaniel MacKey’s use of Duncan’s “would-be shaman,” Catherine Martin sees Duncan’s influence in Susan Howe’s “development of a poetics where the twin concepts of trespass and ‘permission’ hold comparable sway,” and Ross Hair explores poet Ronald Johnson’s “reading to steal.” These and other essays collected here trace paths of poetic affiliation and affinity and hold them up as provocative possibilities in Duncan’s own inexhaustible work.

Grounded in a detailed and compelling account of the philosophy guiding such a project, Ma's book traces a continuity of thought and practice through the very different poetic work of objectivists Louis Zukofsky, George Oppen, Carl Rakosi, and John Cage and language poets Susan Howe, Lyn Hejinian, Bruce Andrews, and Charles Bernstein. His deft individual readings provide an opening into this notoriously difficult work, even as his larger critique reveals a new and clarifying perspective on American modernist and post-modernist avant-garde poetics. Ma shows how we cannot understand these poets according to the usual way of reading but must see how they deliberately use redundancy, unpredictability, and irrationality to undermine the meaning-oriented foundations of American modernism--and to force a new and different kind of reading."--Pub. desc.

Providing a synthesis of New York's artistic and literary worlds, this book uses social and philosophical problems involved in reading a coterie to propose a language for understanding the poet, art critic, and Museum of Modern Art curator, Frank O'Hara.

An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.

"This book examines individually and collectively poets widely recognized as formal and linguistic innovators. Why do their words appear in unconventional orders? What end do these arrangements serve? Why are they striking? Brian Reed focuses on poetic form as a persistent puzzle, utilizing historical fact and the views of other critics to clarify how particular literary works are constructed and how those constructions lead to specific effects." -- Back cover.

Set to generate future discussions in the field for years to come, The Poetics of Poetry Film is an encyclopaedic work on the ever-evolving genre of poetry film. Tremlett provides an introduction to the emergence and history of poetry film in a global context, defining and debating terms both philosophically and materially. Including over 40 contributors and showcasing the work of an international array of practitioners, this is an industry bible for anyone interested in poetry, digital media, filmmaking, art and creative writing, as well as poetry filmmakers. Poetry films are a genre of short film, usually combining the three main elements of the poem as: verbal message; the moving film image and diegetic sounds; and additional non-diegetic sounds or music, which create a soundscape. In this book, Tremlett examines the formal characteristics of the poetic in poetry film, film poetry and videopoetry, particularly in relation to lyric voice and time. The volume includes interviews, analysis and a rigorous and thorough investigation of the poetry film, from its origins to the present.

Wallace Stevens once described the "malady of the quotidian," lamenting the dull weight of everyday regimen. Yet he would later hail "that which is always beginning, over and over"--recognizing, if not celebrating, the possibility of fresh invention. Focusing on the poems of Wallace Stevens, Robert Frost, Elizabeth Bishop, and James Merrill, Siobhan Phillips positions everyday time as a vital category in modernist aesthetics, American literature, and poetic theory. She eloquently reveals how, through particular but related means, each of these poets converts the necessity of quotidian experience into an aesthetic and experiential opportunity. In Stevens, Phillips analyzes the implications of cyclic dualism. In Frost, she explains the theoretical depth of a habitual "middle way." In Bishop's work, she identifies the attempt to turn recurrent mornings into a "ceremony" rather than a sentence, and in Merrill, she shows how cosmic theories rely on daily habits. Phillips ultimately demonstrates that a poetics of everyday time contributes not only to a richer understanding of these four writers but also to descriptions of their era, estimations of their genre, and ongoing reconfigurations of the issues that literature reflects and illuminates.