A long essay on the long poem: modern and contemporary poetics and practices
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Tuscaloosa
<<The>> University of Alabama Press
2023
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| Schriftenreihe: | Modern and contemporary poetics
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xi, 293 Seiten |
| ISBN: | 9780817360689 |
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| adam_text | Contents Acknowledgments ix chapter 1 Length, “Longing,” and the Long Poem chapter 2 Deploying Epic 47 chapter 3 Interpreting Quest and Dante 88 chapter 4 Assemblage, Book, Total Artwork 129 chapter 5 Meditations on Ending Very Long Poems 187 1 Notes 231 Bibliography 267 Index 279
For decades, Rachel Blau DuPlessis has shown readers how genres, forms, and the literal acts of writing and reception can be understood as sites of struggle. In her own words, “writing is ... a praxis ... in which the author disappears into a process, into a community, into discontinuities, and into a desire for discovery.” It is cause for cele bration, then, that we have another work of warm, incisive, exploratory writing from DuPlessis in A Long Essay on the Long Poem. Long poems, DuPlessis notes, are elu sive, particularly in the slippery forms that have emerged in the postmodern mode. She cites both Nathaniel Mackey and Anne Waldman in thinking of the poem as a “box,” both in the sense of a vessel that contains and as a machine that processes, an instrument on which language is played. This study’s central attention is on the long poem as a sociocultural book, distinctively envisioned by a range of authors. To reckon with these shifting and evolving forms, DuPlessis works in a poly valent mode, a hybrid of critical analysis and speculative essay. She divides the long poem and the long poets into three genres: epics, quests, and a composite she terms “assemblages.” Instead of a traditional lineage, she deliberately seeks intersecting patterns of connection between poems and projects, a nexus rather than a family tree. In doing so she navigates both some chal lenges of long poems and her own attempt to “essay” them. The result is a fascinating and generous work that defies categoriza tion as anything other than essential.
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| adam_txt |
Contents Acknowledgments ix chapter 1 Length, “Longing,” and the Long Poem chapter 2 Deploying Epic 47 chapter 3 Interpreting Quest and Dante 88 chapter 4 Assemblage, Book, Total Artwork 129 chapter 5 Meditations on Ending Very Long Poems 187 1 Notes 231 Bibliography 267 Index 279
For decades, Rachel Blau DuPlessis has shown readers how genres, forms, and the literal acts of writing and reception can be understood as sites of struggle. In her own words, “writing is . a praxis . in which the author disappears into a process, into a community, into discontinuities, and into a desire for discovery.” It is cause for cele bration, then, that we have another work of warm, incisive, exploratory writing from DuPlessis in A Long Essay on the Long Poem. Long poems, DuPlessis notes, are elu sive, particularly in the slippery' forms that have emerged in the postmodern mode. She cites both Nathaniel Mackey and Anne Waldman in thinking of the poem as a “box,” both in the sense of a vessel that contains and as a machine that processes, an instrument on which language is played. This study’s central attention is on the long poem as a sociocultural book, distinctively envisioned by a range of authors. To reckon with these shifting and evolving forms, DuPlessis works in a poly valent mode, a hybrid of critical analysis and speculative essay. She divides the long poem and the long poets into three genres: epics, quests, and a composite she terms “assemblages.” Instead of a traditional lineage, she deliberately seeks intersecting patterns of connection between poems and projects, a nexus rather than a family tree. In doing so she navigates both some chal lenges of long poems and her own attempt to “essay” them. The result is a fascinating and generous work that defies categoriza tion as anything other than essential. |
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