Marjorie Perloff - Böcker

Marjorie Perloff writes in her preface to Poetics in a New Key that when she learned David Jonathan Y. Bayot wanted to publish a collection of her interviews and essays, she was "at once honored and mystified." But to Perloff's surprise and her readers' delight, the resulting assembly not only presents an accessible and provocative introduction to Perloff's critical thought, but also highlights the wide range of her interests, and the energetic reassessments and new takes that have marked her academic career. The fourteen interviews in Poetics in a New Key - conducted by scholars, poets, and critics from the United States, Denmark, Norway, France, and Poland, including Charles Bernstein, Helene Aji, and Peter Nicholls - cover a broad spectrum of topics in the study of poetry: its nature as a literary genre, its current state, and its relationship to art, politics, language, theory, and technology. Also featured in the collection are three pieces by Perloff herself: an academic memoir, an exploration of poetry pedagogy, and an essay on twenty-first-century intellectuals.But across all the interviews and essays, Perloff's distinctive personality and approach to reading and talking resound, making this new collection an inspiring resource for scholars both of poetry and writing.

Among the brilliant writers and thinkers who emerged from the multicultural and multilingual world of the Austro-Hungarian Empire were Joseph Roth, Robert Musil, and Ludwig Wittgenstein. For them, the trauma of World War I included the sudden loss of the geographical entity into which they had been born: in 1918, the empire was dissolved overnight, leaving Austria a small, fragile republic that would last only twenty years before being annexed by Hitler's Third Reich. In this major reconsideration of European modernism, Marjorie Perloff identifies and explores the aesthetic world that emerged from the rubble of Vienna and other former Habsburg territories--an "Austro-Modernism" that produced a major body of drama, fiction, poetry, and autobiography. Perloff explores works ranging from Karl Kraus's drama The Last Days of Mankind and Elias Canetti's memoir The Tongue Set Free to Ludwig Wittgenstein's notebooks and Paul Celan's lyric poetry. Throughout, she shows that Austro-Modernist literature is characterized less by the formal and technical inventions of a modernism familiar to us in the work of  Joyce and Pound, Dada and Futurism, than by a radical irony beneath a seemingly conventional surface, an acute sense of exile, and a sensibility more erotic and quixotic than that of its German contemporaries. Skeptical and disillusioned, Austro-Modernism prefers to ask questions rather than formulate answers.

How the negotiation between poetic and media discourses takes place is the subject of Marjorie Perloff's groundbreaking study. Radical Artifice considers what happens when the "natural speech" model inherited from the great Modernist poets comes up against the "natural speech" of the Donahue "talk show," or again, how visual poetics and verse forms are responding to the languages of billboards and sound bytes. Among the many poets whose works are discussed are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, and Steve McCaffery. But the strongest presence in Perloff's book is John Cage, a "poet" better known as a composer, a philosopher, a printmaker, and one who understood, almost half a century ago, that from now on no word, musical note, painted surface, or theoretical statement could ever again escape "contamination" from the media landscape in which we live. It is under his sign that Radical Artifice was composed.

This text considers what happens when the "natural speech" model inherited from the Modernist poets comes up against the "natural speech" of the "Donahue" talk show, or again, how visual poetics and verse forms are responding to the languages of billboards and sound bytes. Among the many poets whose works are discussed are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, and Steve McCaffery. But the strongest presence in Perloff's book is John Cage, a "poet" better known as a composer, a philosopher, a printmaker, and one who understood, almost half a century ago, that from now on no word, musical note, painted surface, or theoretical statement could ever again escape "contamination" from the media landscape in which we live. It is under his sign that "Radical Artifice" was composed.

Marjorie Perloff's stunning book was one of the first to offer a serious and far-reaching examination of the momentous flourishing of Futurist aesthetics in the European art and literature of the early twentieth century. Offering penetrating considerations of the prose, visual art, poetry, and carefully crafted manifestos of Futurists from Russia to Italy, Perloff reveals the Moment's impulses and operations, tracing its echoes through the years to the work of "postmodern" figures like Roland Barthes. This updated edition, with its new preface, reexamines the Futurist Moment in the light of a new century, in which Futurist aesthetics seem to have steadily more to say to the present.

Sound - one of the central elements of poetry - finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkin break that critical silence to readdress some of the fundamental connections between poetry and sound - connections that go far beyond traditional metrical studies. Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, "The Sound of Poetry/The Poetry of Sound" explores such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme, the role of sound repetition in novelistic prose, the connections between 'sound poetry' and music and between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essays take on the 'ensemble discords' of Maurice Sceve's Delie, Ezra Pound's use of 'Chinese whispers', the alchemical theology of Hugo Ball's Dada performances, Jean Cocteau's modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.A genuinely comparatist study, "The Sound of Poetry/The Poetry of Sound" is designed to challenge current preconceptions about what Susan Howe has called 'articulations of sound forms in time' as they have transformed the expanded poetic field of the twenty-first century.

When the avant-gardist John Cage died, he was already the subject of many interviews, memoirs and discussions of his contribution to music, music theory and performance practice. This text includes a revisionist treatment of the way Cage himself has composed and been "composed" in America. A disciple of Duchamp and Schoenberg, Satie and Joyce, Cage created compositions that undercut some of these artists' central principles and then attributed his own compositional theories to their "tradition." Following the text of Cage's "Overpopulation and Art," delivered at Stanford shortly before his death, ten critics respond to the complexity and contradiction exhibited in his work. In keeping with Cage's own interdisciplinarity, the critics approach the work from a variety of disciplines: philosophy (Daniel Herwitz, Gerald L. Bruns), biography and cultural history (Thomas S. Hines), game and chaos theory (N. Katherine Hayles), music culture (Jann Pasler), opera history (Herbert Lindenberger), literary and art criticism (Marjorie Perloff), cultural poetics (Gordana P. Crnkovic, Charles Junkerman), and poetic practice (Joan Retallack).

Drawing extensively upon the poet's unpublished manuscripts - poems, journals, essays, and letters - as well as all his published works, Marjorie Perloff presents Frank O'Hara as one of the central poets of the postwar period and an important critic of the visual arts. Perloff traces the poet's development through his early years at Harvard and his interest in French Dadaism and Surrealism to his later poems that fuse literary influence with elements from Abstract Expressionist painting, atonal music, and contemporary film. This edition contains a new introduction addressing O'Hara's homosexuality, his attitudes toward racism, and changes in the poetic climate in recent years.

Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal."This book has the lucidity and the intelligence we have come to expect from Marjorie Perloff.—Linda Munk, American Literature"[Perloff] has brilliantly adapted Wittgenstein's conception of meaning and use to an analysis of contemporary language poetry."—Linda Voris, Boston Review"Wittgenstein's Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds."—David Clippinger, Chicago Review"Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic. . . . Entertaining, witty, and above all highly original."—Willard Bohn, Sub-Stance

What is the place of individual genius in a global world of hyper-information - a world in which, as Walter Benjamin predicted more than seventy years ago, everyone is potentially an author? For poets in such a climate, 'originality' begins to take a back seat to what can be done with other people's words - framing, citing, recycling, and otherwise mediating available words and sentences, and sometimes entire texts. Marjorie Perloff here explores this intriguing development in contemporary poetry: the embrace of 'unoriginal' writing. Paradoxically, she argues, such citational and often constraint-based poetry is more accessible and, in a sense, 'personal' than was the hermetic poetry of the 1980s and '90s. Perloff traces this poetics of 'unoriginal genius' from its paradigmatic work, Benjamin's encyclopedic Arcades Project, a book largely made up of citations. She discusses the processes of choice, framing, and reconfiguration in the work of Brazilian Concretism and Oulipo, both movements now understood as precursors of such hybrid citational texts as Charles Bernstein's opera libretto "Shadowtime" and Susan Howe's documentary lyric sequence "The Midnight".Perloff also finds that the new syncretism extends to language: for example, to the French-Norwegian Caroline Bergvall writing in English and the Japanese Yoko Tawada in German. "Unoriginal Genius" concludes with a discussion of Kenneth Goldsmith's conceptualist book Traffic - a seemingly 'pure' radio transcript of one holiday weekend's worth of traffic reports. In these instances and many others, Perloff shows us 'poetry by other means' of great ingenuity, wit, and complexity.

In "Unoriginal Genius" Marjorie Perloff explores a new development in contemporary poetry: the repurposing of other people's words in order to make new works, by framing, citing, and recycling already existing phrases, sentences, and even full texts. Paradoxically, she argues, this 'unoriginal' poetry is more accessible and, in a sense, 'personal' than the hermetic poetry of the 1980s and '90s. Perloff traces this poetics of "Unoriginal Genius" from one of its paradigmatic works, Walter Benjamin's encyclopedic "Arcades Project", a book largely made up of citations. She discusses the processes of choice, framing, and reconfiguration in the work of Brazilian Concretism and Oulipo, two movements now understood to be precursors of such hybrid citational texts as Charles Bernstein's opera libretto "Shadowtime" and Susan Howe's documentary lyric sequence "The Midnight". "Unoriginal Genius" concludes with a discussion of Kenneth Goldsmith's conceptualist book "Traffic" - a seemingly "pure" transcript of one holiday weekend's worth of radio traffic reports. In these instances and many others, Perloff reveals 'poetry by other means' of great ingenuity, wit, and complexity.

The “infrathin” was Marcel Duchamp’s playful name for the most minute shade of difference: that between the report of a gunshot and the appearance of the bullet hole, or between two objects in a series made from the same mold. “Eat” is not the same thing as “ate.” The poetic, Marjorie Perloff suggests, can best be understood as the language of infrathin. For in poetry, whether in verse or prose, words and phrases that are seemingly unrelated in ordinary discourse are realigned by means of sound, visual layout, etymology, grammar, and construction so as to “make it new.” In her revisionist “micropoetics,” Perloff draws primarily on major modernist poets from Stein and Yeats to Beckett, suggesting that the usual emphasis on what this or that poem is “about,” does not do justice to its infrathin possibilities. From Goethe’s eight-line “Wanderer’s Night Song” to Eliot’s Four Quartets, to the minimalist lyric of Rae Armantrout, Infrathin is designed to challenge our current habits of reading and to answer the central question: what is it that makes poetry poetry?

The “infrathin” was Marcel Duchamp’s playful name for the most minute shade of difference: that between the report of a gunshot and the appearance of the bullet hole, or between two objects in a series made from the same mold. “Eat” is not the same thing as “ate.” The poetic, Marjorie Perloff suggests, can best be understood as the language of infrathin. For in poetry, whether in verse or prose, words and phrases that are seemingly unrelated in ordinary discourse are realigned by means of sound, visual layout, etymology, grammar, and construction so as to “make it new.” In her revisionist “micropoetics,” Perloff draws primarily on major modernist poets from Stein and Yeats to Beckett, suggesting that the usual emphasis on what this or that poem is “about,” does not do justice to its infrathin possibilities. From Goethe’s eight-line “Wanderer’s Night Song” to Eliot’s Four Quartets, to the minimalist lyric of Rae Armantrout, Infrathin is designed to challenge our current habits of reading and to answer the central question: what is it that makes poetry poetry?

This revisionist narrative of poetic change in the twentieth century challenges the accepted notions of what poetry is and can be in the new century and makes the case for the seminal place of poetry in contemporary culture.

Must poetic form be, as Yeats demanded, "full, sphere-like, single," or can it accommodate the impurities Yeats and his Modernist generation found so problematic? Sixty years later, these are still open questions, questions Marjorie Perloff addresses in these essays.

This study, first published in 1981, argues that the map of modernist poetry needs to be redrawn so as to include a central tradition that cannot properly be located within the Romantic-Symbolist tradition that dominated the early-20th century. Marjorie Perloff traces this tradition from its early ""French connection"" in the poetry of Rimbaud and Apollinaire as well as in Cubist, Dada and early Surrealist painting; through its various manifestations in the work of Gertrude Stein, William Carlos Williams and Ezra Pound; to such postmodern ""landscapes without depth"" as the French/English language constructions of Samuel Beckett, the elusive dreamscapes of John Ashbery, and the performance works of David Antin and John Cage.

A new collection of essays from a distinguished critic of contemporary poetry. Marjorie Perloff is one of the foremost critics of contemporary American poetry writing today. Her works are credited by many with creating and sustaining new critical interest not only in the work of major modernist poets such as Yeats, Pound, Eliot, and Williams but also in the postwar tradition of American poetic innovation that ranges from the Black Mountain poets, through the New York School and concrete poetry, to the Language Poets of the 1980s and '90s. In Differentials, Perloff explores and defends her belief in the power of close reading, a strategy often maligned as reactionary in today's critical climate but which, when construed deferentially, is vital, she believes, to any true understanding of a literary or poetic work, irrespective of how traditional or experimental it is. Perloff also examines key issues in modernism, from Eliot's conservative poetics and Pound's nominalism to translation theory (Wittgenstein, Eugene Jolas, Haroldo de Campos), and the contemporary avant garde, as represented by writers like Susan Howe, Tom Raworth, Rae Armantrout, Ron Silliman, Ronald Johnson, Caroline Bergvall, and Kenneth Goldsmith. Ultimately, Perloff's most important offerings in Differentials are her remarkably original reflections on the aesthetic process: on how poetry works, and what it means, in and for our time.

One of our most important contemporary critics, Marjorie Perloff has been a widely published and influential reviewer, especially of poetry and poetics, for over fifty years. Circling the Canon, Volume I covers roughly the first half of Perloff's career, beginning with her first ever review, on Anthony Hecht's The Hard Hours. The reviews in this volume, culled from a wide range of scholarly journals, literary reviews, and national magazines, trace the evolution of poetry in the mid- to late twentieth century as well as the evolution of Perloff as a critic. Many of the authors whose works are reviewed in this volume are major figures, such as W. B. Yeats, Ezra Pound, Sylvia Plath, and Frank O'Hara. Others, including Mona Van Duyn and Richard Hugo, were widely praised in their day but are now all but forgotten. Still others--David Antin, Edward Dorn, or the Language poets--exemplify an avant-garde that was to come into its own.

One of our most important contemporary critics, Marjorie Perloff has been a widely published and influential reviewer, especially of poetry and poetics, for over fifty years. Circling the Canon, Volume II focuses on the second half of her prolific career, showcasing reviews from 1995 through her 2017 reconsiderations of Jonathan Culler's theory of the lyric and William Empson's classic Seven Types of Ambiguity. In this volume Perloff provides insight into the twenty-first-century literary landscape, from revaluations of its leading poets and translations of European poetry from Goethe to the Brazilian Noigandres group and interart studies and performance art. Key issues of the past few decades, such as the controversy over the role and function of poetry anthologies, receive extended treatment, and Perloff frequently voices a minority view, as in the case of the acclaimed British poet Philip Larkin.

The Los Angeles Review of Books launched in April of 2011 as a humble Tumblr, with a 2600-word essay by Ben Ehrenreich entitled "The Death of the Book." The gesture was a bit tongue-in-cheek, but we meant it to be provocative, and to ask a genuine question: Was the book dying? Was the internet killing it? Or were we simply entering a new era, a new publishing ecosystem, where different media could coexist? Since then, we've been enormously gratified by the response that LARB has generated from readers, writers, academics, editors, publishers. We are a community of writers, critics, journalists, artists, filmmakers, and scholars dedicated to promoting and disseminating the best that is thought and written, with an enduring commitment to the intellectual rigor, the incisiveness, and the power of the written word.Today, we've created a new institution for writers and readers that is unlike anything else on the web. Our new LARB Quarterly Journal reflects the best that this institution has to bring to readers all over the world. One question these people have continually asked us, though, is: When are you going to put out a print edition?Even though we've been (and remain) committed to the internet as both a space of conversation and a place of commerce, we've always wanted to have something physical, tangible, to be able to show for our work. We never really believed that books would die, or magazines either. The LARB website currently publishes a minimum of two rigorously edited pieces a day, and we've cultivated a stable of regular contributors, both eminent (Jane Smiley, Mike Davis, Jonathan Lethem) and emerging (Jenny Hendrix, Colin Dickey, Rachel Kaadzi Ghansah). We've found our way to a certain tone that readers expect and enjoy: looser and more eclectic than our namesakes the New York and London Review of Books, grounded in literature but open to all varieties of cultural experience, far from the New York publishing hothouse atmosphere but not myopically focused on L.A. either. The new LARB print quarterly will build on the best aspects of the current website. As we do now, we'll publish book reviews that strive to do something more than recommend or discourage a purchase; we're most interested in pieces that push the form of the book review into other genres, such as memoir, polemic, or short story.We are excited to explore the possibilities of this new format, and feel confident that the audience we've attracted over the past two years on the web will follow us. We know that our peers at Harper's, Bookforum, n+1, The Believer, and the New York and London Review of Books -- all of whom have expressed support and goodwill for this latest venture -- welcome a new voice from the West, as will subscribers. The long form literary and cultural arts review is alive and well, and now, has a new home in Los Angeles.

No detailed description available for "Rhyme and Meaning in the Poetry of Yeats".