Laura (Riding) Jackson is recognized as one of America's great modernist poets although she renounced the writing of poetry in 1941, viewing poetry as "blocking truth's ultimate verbal harmonies." First published in England in 1970 and long out of print, Selected Poems: In Five Sets includes sixty-one poems personally selected and arranged by the author. Drawn from her Collected Poems of 1938, this is a remarkable distillation of Laura Riding's poetic achievement. The extraordinary preface is perhaps Laura (Riding) Jackson's most succinct explanation of her renunciation of the writing of poetry, and is a provocative commentary on the contemporary poetry scene. --Persea Books.
Rock & Roll: Selected Poems in Five Sets by Mark Pirie. Bareknuckle Books presents in this series of edited collected editions, daring new writing from the 21st Centuries best contemporary international poets.
Alphabetically arranged entries include discussions of individual authors, literary movements, institutions, notable texts, literary developments, themes, ethnic literatures, and "topic" essays.
Hail! Madam Jazz includes Micheal O'Siadhail's new collection, The Middle Voice, the whole of his acclaimed recent sequence The Chosen Garden, and selections from ﬁve other books written over the past 16 years. They resonate with a jazz-like vitality, both light and dark, familiar themes with improvisations, varied rhythms, the simplicity of one melody with subtle interweavings of complexities. They sound out nature, childhood and growing up, passionate desire and ideals, the fragilities and abandon of life's dance. Classic models, such as the sonnet, cross with free form. Frank Delaney described him in The Listener as 'the freshest talent from Ireland'.
"Verse is born free but everywhere in chains. It has been my project to rattle the chains." (from "The Revenge of the Poet-Critic") In My Way, (in)famous language poet and critic Charles Bernstein deploys a wide variety of interlinked forms—speeches and poems, interviews and essays—to explore the place of poetry in American culture and in the university. Sometimes comic, sometimes dark, Bernstein's writing is irreverent but always relevant, "not structurally challenged, but structurally challenging." Addressing many interrelated issues, Bernstein moves from the role of the public intellectual to the poetics of scholarly prose, from vernacular modernism to idiosyncratic postmodernism, from identity politics to the resurgence of the aesthetic, from cultural studies to poetry as a performance art, from the small press movement to the Web. Along the way he provides "close listening" to such poets as Charles Reznikoff, Laura Riding, Susan Howe, Ezra Pound, Allen Ginsberg, and Gertrude Stein, as well as a fresh perspective on L=A=N=G=U=A=G=E, the magazine he coedited that became a fulcrum for a new wave of North American writing. In his passionate defense of an activist, innovative poetry, Bernstein never departs from the culturally engaged, linguistically complex, yet often very funny writing that has characterized his unique approach to poetry for over twenty years. Offering some of his most daring work yet—essays in poetic lines, prose with poetic motifs, interviews miming speech, speeches veering into song—Charles Bernstein's My Way illuminates the newest developments in contemporary poetry with its own contributions to them. "The result of [Bernstein's] provocative groping is more stimulating than many books of either poetry or criticism have been in recent years."—Molly McQuade, Washington Post Book World "This book, for all of its centrifugal activity, is a singular yet globally relevant perspective on the literary arts and their institutions, offered in good faith, yet cranky and poignant enough to not be easily ignored."—Publishers Weekly "Bernstein has emerged as postmodern poetry's sous-chef of insouciance. My Way is another of his rich concoctions, fortified with intellect and seasoned with laughter."—Timothy Gray, American Literature
ÿLaura Riding was a major poet whose poems, though widely admired and influential, have been little understood. Throughout the 1920s and 1930s she was ?a devout advocate of poetry? believing that ?to go to poetry is the most ambitious act of the mind?. Her subsequent renunciation of poetry in the 1940s gave rise to bemusement. Jack Blackmore tackles the causes of the neglect of Riding?s poetry and establishes new and productive approaches to the poems. His close readings of fifteen poems demonstrate the progress of Collected Poems and the remarkable range and scope of her poetry. He establishes both the strength and unity of the poems and the continuity between them and her ?post-poetic? work, in particular her spiritual testament The Telling. Mark Jacobs?s vivid memoir of a visit to the author in later life at her Florida home complements the work on the poems. ?'These essays are interesting and you have done well? You seem to me fair and just in what you say about her work.' - Robert Nye 'This is ambitious work, full of insights.' - Professor Michael Schmidt
American women have created an especially vigorous and innovative poetry, beginning in 1632 when Anne Bradstreet set aside her needle and picked up her "poet's pen." The topics of American women poets have been various, their images their own, and their modes of expression original. Emily Stipes Watts does not imply that the work of American men and that of American women are two different kinds of poetry, although they have been treated as such in the past. It is her aim, rather, to delineate and define the poetic tradition of women as crucial to the understanding of American poetry as a whole. By 1850, American women of all colors, religions, and social classes were writing and publishing poetry. Within the critical category of "female poetry," developed from 1800 to 1850, these women experimented boldly and prepared the way for the achievement of such women as Emily Dickinson in the second half of the nineteenth century. Indeed at times—for example from 1860 through 1910—it was women who were at the outer edge of prosodic experimentation and innovation in American poetry. Moving chronologically, Professor Watts broadly characterizes the state of American poetry for each period, citing the dominant male poets; she then focuses on women contemporaries, singling out and analyzing their best work. This volume not only brings to light several important women poets but also represents the discovery of a tradition of women writers. This is a unique and invaluable contribution to the history of American literature.
The indispensable anthology of poetry from the Fugitive group, this collection chronicles the impact of literary modernism on these Southern poets as their region took a “backward glance” before coming to terms with the modern world. Southern Classics Series.
The Encyclopedia of American Poetry: The Twentieth Century contains over 400 entries that treat a broad range of individual poets and poems, along with many articles devoted to topics, schools, or periods of American verse in the century. Entries fall into three main categories: poet entries, which provide biographical and cultural contexts for the author's career; entries on individual works, which offer closer explication of the most resonant poems in the 20th-century canon; and topical entries, which offer analyses of a given period of literary production, school, thematically constructed category, or other verse tradition that historically has been in dialogue with the poetry of the United States.
"Here is the book lover's literary tour of Florida, an exhaustive survey of writers, books, and literary sites in every part of the state. The state is divided into ten areas and each one is described from a literary point of view. You will learn what authors lived in or wrote about a place, which books describe the place, what important movies were made there, even the literary trivia which the true Florida book lover will want to know. You can use the book as a travel guide to a new way to see the state, as an armchair guide to a better understanding of our literary heritage, or as a guide to what to read next time you head to a bookstore or library."--Publisher.
This title offers an authoritative and up-to-date collection of original essays bringing together ground breaking research into the development of contemporary poetry in Britain and Ireland.
This volume contains a variety of essays about Florida literature and history by scholars from across the state representing every kind of institution of higher learning, from community colleges to small liberal arts institutions to large universities. The essays in the first section, ‘Pedagogy’, focus on the college classroom and the challenges facing institutions of higher learning in Florida. The essays in ‘Old Florida’ explore the state’s varied and unique geographies. The final section, ‘Contemporary Florida’, continues to point to the state’s distinctive sense of place while also locating Florida within larger literary, cultural, and political traditions.
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation. In The Failure of Poetry, The Promise of Language, Laura (Riding) Jackson examines the subjects of poetry, language, and truth; the conflict between truth and art; and the range of human attitudes to the prospect of truth-speaking. Also included are a series of comments on and judgments of the poets Coleridge, Clare, Eliot, Frost, Vachel Lindsay, Lowell, Pound, Dylan Thomas, and W. C. Williams and selections from her correspondence ranging from 1948 to 1984. Laura (Riding) Jackson’s first published poems appeared in 1923 in magazines such as The Fugitive. In 1925 she moved to England, and during thirteen years abroad wrote some twenty books of poetry, criticism, and fiction. In 1941 she renounced poetry, married Schuyler B. Jackson, and collaborated with him on what would become Rational Meaning: A New Foundation for the Definition of Words. The Telling, her spiritual testament, was published in 1972. In 1991 she was awarded the Bollingen Prize for her lifetime contribution to poetry. She died on September 2, 1991. John Nolan is a member of the Laura (Riding) Jackson Board of Literary Management, and co-editor, with Alan J. Clark, of Laura (Riding) Jackson’s Under the Mind’s Watch (2004). He lives in London, England.