Since the start of the twentieth century, poets have been irresistibly drawn to the image of the poem as a kind of data-handling, a way of mediating between the divergent scales of aesthetics and infrastructure, language and technology. Conrad Steel shows how the history of poetry—with its particular formal affordances, and the particular hopes and fears we invest it with—has always been bound up with our changing logistics of macroscale representation. The Poetics of Scale takes us back to the years before the First World War in Paris, where the poet Guillaume Apollinaire claimed to have invented a new mode of poetry large enough to take on the challenges of the coming twentieth century. This history follows Apollinaire’s ideas across the Atlantic and examines how and why his work became such a vital source of inspiration for American poets through the era of intensive American economic expansion and up to the present day. Threading together Apollinaire’s work in the 1910s with three of his American successors—Louis Zukofsky in the 1930s, Allen Ginsberg in the 1950s, and Alice Notley from the 1970s onward—it shows how poetry as a cultural technique became the crucial test case for the scale of our collective imagination.

Can poetry act as an aesthetic amplification device, akin to a microscope, through which we can sense minute or nearly imperceptible phenomena such as the folding of molecules into their three-dimensional shapes, the transformations that make up the life cycle of a silkworm, or the vaporous movements that constitute the ever-shifting edges of clouds? We tend to think of these subjects as reserved for science, but, as Ada Smailbegović argues, twentieth- and twenty-first-century writers have intermingled scientific methodologies with poetic form to reveal unfolding processes of change. Their works can be envisioned as laboratories within which the methodologies of experimentation, natural historical description, and taxonomic classification allow poetic language to register the rhythms and durations of material transformation. Poetics of Liveliness moves across scales to explore the realms of molecules, fibers, tissues, and clouds. It investigates works such as Christian Bök’s insertion of a poetic text into the DNA code of living bacteria in order to generate a new poem in the shape of a protein molecule, Jen Bervin’s considerations of silk fibers and their use in biomedicine, Gertrude Stein’s examination of brain tissues in medical school and its subsequent influence on her literary taxonomies of character, and Lisa Robertson’s studies of nineteenth-century meteorology and the soft architecture of clouds. In their attempt to understand physical processes unfolding within lively material worlds, Smailbegović contends, these poets have developed a distinctive materialist poetics. Structured as a poetic cosmology akin to Lucretius’s “On the Nature of Things,” which begins at the atomic level and expands out to the vastness of the universe, Poetics of Liveliness provides an innovative and surprising vision of the relationship between science and poetry.

A pioneering call for a new understanding of scale across the humanities How is it possible that you are—simultaneously—cells, atoms, a body, quarks, a component in an ecological network, a moment in the thermodynamic dispersal of the sun, and an element in the gravitational whirl of galaxies? In this way, we routinely transform reality into things already outside of direct human experience, things we hardly comprehend even as we speak of DNA, climate effects, toxic molecules, and viruses. How do we find ourselves with these disorienting layers of scale? Enter Scale Theory, which provides a foundational theory of scale that explains how scale works, the parameters of scalar thinking, and how scale refigures reality—that teaches us how to think in terms of scale, no matter where our interests may lie. Joshua DiCaglio takes us on a fascinating journey through six thought experiments that provide clarifying yet provocative definitions for scale and new ways of thinking about classic concepts ranging from unity to identity. Because our worldviews and philosophies are largely built on nonscalar experience, he then takes us slowly through the ways scale challenges and reconfigures objects, subjects, and relations. Scale Theory is, in a sense, nondisciplinary—weaving together a dizzying array of sciences (from nanoscience to ecology) with discussions from the humanities (from philosophy to rhetoric). In the process, a curious pattern emerges: attempts to face the significance of scale inevitably enter terrain closer to mysticism than science. Rather than dismiss this connection, DiCaglio examines the reasons for it, redefining mysticism in terms of scale and integrating contemplative philosophies into the discussion. The result is a powerful account of the implications and challenges of scale, attuned to the way scale transforms both reality and ourselves.

Conrad Steel shows how the history of poetry has always been bound with our changing logistics of macroscale representation. This history takes us back to the years before the First World War in Paris, where the poet Guillaume Apollinaire claimed to have invented a new mode of poetry large enough to take on the challenges of the coming twentieth century. The Poetics of Scale follows Apollinaire's ideas across the Atlantic and examines how and why his work became such a vital source of inspiration for American poets through the era of intensive American economic expansion and up to the present day.

A history of ancient literary culture told through the quantitative facts of canon, geography, and scale.

Originally published as author's thesis (doctoral)--BIGSAS, Bayreuth, 2009.

Long anticipated, Recalculating is Charles Bernstein’s first full-length collection of new poems in seven years. As a result of this lengthy time under construction, the scope, scale, and stylistic variation of the poems far surpasses Bernstein’s previous work. Together, the poems of Recalculating take readers on a journey through the history and poetics of the decades since the end of the Cold War as seen through the lens of social and personal turbulence and tragedy. The collection’s title, the now–familiar GPS expression, suggests a change in direction due to a mistaken or unexpected turn. For Bernstein, formal invention is a necessary swerve in the midst of difficulty. As in all his work since the 1970s, he makes palpable the idea that radically new structures, appropriated forms, an aversion to received ideas and conventions, political engagement, and syntactic novelty will open the doors of perception to exuberance and resonance, from giddiness to pleasure to grief. But at the same time he cautions, with typical deflationary ardor, “The pen is tinier than the sword.” In these poems, Bernstein makes good on his claim that “the poetry is not in speaking to the dead but listening to the dead.” In doing so, Recalculating incorporates translations and adaptations of Baudelaire, Cole Porter, Mandelstam, and Paul Celan, as well as several tributes to writers crucial to Bernstein’s work and a set of epigrammatic verse essays that combine poetics with wry observation, caustic satire, and aesthetic slapstick. Formally stunning and emotionally charged, Recalculating makes the familiar strange—and in a startling way, makes the strange familiar. Into these poems, brimming with sonic and rhythmic intensity, philosophical wit, and multiple personae, life events intrude, breaking down any easy distinction between artifice and the real. With works that range from elegy to comedy, conceptual to metrical, expressionist to ambient, uproarious to procedural, aphoristic to lyric, Bernstein has created a journey through the dark striated by bolts of imaginative invention and pure delight.