Bloomsbury Studies in Critical Poetics - Böcker

Poetry has often been defined by its closure, its condensation of meaning and value into discrete, self-referential textual objects. Affect, Psychoanalysis and American Poetry challenges the dominant metaphor of poetic containers by turning to recent poetic texts that represent the contagious and uncontainable feelings of anxiety, grief, shame, and rage. From modernists Wallace Stevens to mid-century poets Randall Jarrell, Robert Creeley and Ted Berrigan, and finally to contemporary practitioners Aaron Kunin and Claudia Rankine, John Steen argues that new poetic techniques arise from the poetic productivity of negative affects, and that a new model of poetic value can be found in poems that are—instead of containers—permeable, social spaces of intimacy, attachment, and withdrawal. Drawing from object relations, psychoanalysis, queer theory, and affect theory, Affect, Psychoanalysis, and American Poetry finds poetry’s singularity in its unique capacity to represent anew the transmissible, relational, and uncontainable valences of feeling that structure and destabilize social life.

From William Carlos Williams and Allen Ginsberg to Miguel Algarín and Wanda Coleman, this groundbreaking book explores the ways in which contemporary poets have engaged with America’s changing urban experience since 1945. City Poems and American Urban Crisis brings post-war American poetry into conversation with developments in city planning, activism, and urban theory to demonstrate that taking city poetry seriously as a mode of analysis and critique can enhance our attempts to produce more just and equitable urban futures.Poets covered include: Miguel Algarín, Gwendolyn Brooks, Wanda Coleman, Allen Ginsberg, Lewis MacAdams, Charles Olson, George Oppen, and William Carlos Williams.

A vital hub of poetry readings, performance, publications and radical politics in 1960s New York, the Umbra Workshop was a cornerstone of the African American avant-garde.Bringing together new archival research and detailed close readings of poetry, A Black Arts Poetry Machine is a groundbreaking study of this important but neglected group of poets. David Grundy explores the work of such poets as Amiri Baraka, Lorenzo Thomas and Calvin Hernton and how their innovative poetic forms engaged with radical political responses to state violence and urban insurrection. Through this examination, the book highlights the continuing relevance of the work of the Umbra Workshop today and is essential reading for anyone interested in 20th-century American poetry.

What is the political potential of poetry in the contemporary era? Exploring an often overlooked history of Marxist-Feminist poetics in post-war Britain – including such poets as Denise Riley, Veronica Forrest-Thomson, Wendy Mulford and Nat Raha – this book confronts this central question to debates about the value of humanities education today.Lyric Pedagogy and Marxist-Feminism demonstrates how ideas of social reproduction have been central both to the forms of post-1945 British poetry and the educational institutions where poetry is overwhelmingly encountered and produced. Combining new archival research with close readings of key poets of the period, the book charts the interrelated crises both of poetry itself and literary education more widely. Paradoxically, the very marginalisation of poetry in contemporary culture serves to offer the form new opportunities as an agent of social transformation.

Irreverent and provoking, the figure of the ‘queer troublemaker’ is a disruptive force both poetically and politically. Tracing the genealogy of this figure in modern avant-garde American poetry, Prudence Bussey-Chamberlain develops innovative close readings of the works of Gertrude Stein, Frank O’Hara, Eileen Myles and Maggie Nelson. Exploring how these writers play with identity, gender, sexuality and genre, Bussey-Chamberlain constructs a queer poetics of flippancy that can subvert ideas of success and failure, affect and affectation, performance and performativity, poetry and being.

Poetry has often been defined by its closure, its condensation of meaning and value into discrete, self-referential textual objects. Affect, Psychoanalysis and American Poetry challenges the dominant metaphor of poetic containers by turning to recent poetic texts that represent the contagious and uncontainable feelings of anxiety, grief, shame, and rage. From modernists Wallace Stevens to mid-century poets Randall Jarrell, Robert Creeley and Ted Berrigan, and finally to contemporary practitioners Aaron Kunin and Claudia Rankine, John Steen argues that new poetic techniques arise from the poetic productivity of negative affects, and that a new model of poetic value can be found in poems that are—instead of containers—permeable, social spaces of intimacy, attachment, and withdrawal. Drawing from object relations, psychoanalysis, queer theory, and affect theory, Affect, Psychoanalysis, and American Poetry finds poetry’s singularity in its unique capacity to represent anew the transmissible, relational, and uncontainable valences of feeling that structure and destabilize social life.

From William Carlos Williams and Allen Ginsberg to Miguel Algarín and Wanda Coleman, this groundbreaking book explores the ways in which contemporary poets have engaged with America’s changing urban experience since 1945. City Poems and American Urban Crisis brings post-war American poetry into conversation with developments in city planning, activism, and urban theory to demonstrate that taking city poetry seriously as a mode of analysis and critique can enhance our attempts to produce more just and equitable urban futures.Poets covered include: Miguel Algarín, Gwendolyn Brooks, Wanda Coleman, Allen Ginsberg, Lewis MacAdams, Charles Olson, George Oppen, and William Carlos Williams.

A vital hub of poetry readings, performance, publications and radical politics in 1960s New York, the Umbra Workshop was a cornerstone of the African American avant-garde.Bringing together new archival research and detailed close readings of poetry, A Black Arts Poetry Machine is a groundbreaking study of this important but neglected group of poets. David Grundy explores the work of such poets as Amiri Baraka, Lorenzo Thomas and Calvin Hernton and how their innovative poetic forms engaged with radical political responses to state violence and urban insurrection. Through this examination, the book highlights the continuing relevance of the work of the Umbra Workshop today and is essential reading for anyone interested in 20th-century American poetry.

What is the political potential of poetry in the contemporary era? Exploring an often overlooked history of Marxist-Feminist poetics in post-war Britain – including such poets as Denise Riley, Veronica Forrest-Thomson, Wendy Mulford and Nat Raha – this book confronts this central question to debates about the value of humanities education today.Lyric Pedagogy and Marxist-Feminism demonstrates how ideas of social reproduction have been central both to the forms of post-1945 British poetry and the educational institutions where poetry is overwhelmingly encountered and produced. Combining new archival research with close readings of key poets of the period, the book charts the interrelated crises both of poetry itself and literary education more widely. Paradoxically, the very marginalisation of poetry in contemporary culture serves to offer the form new opportunities as an agent of social transformation.

Irreverent and provoking, the figure of the ‘queer troublemaker’ is a disruptive force both poetically and politically. Tracing the genealogy of this figure in modern avant-garde American poetry, Prudence Bussey-Chamberlain develops innovative close readings of the works of Gertrude Stein, Frank O’Hara, Eileen Myles and Maggie Nelson. Exploring how these writers play with identity, gender, sexuality and genre, Bussey-Chamberlain constructs a queer poetics of flippancy that can subvert ideas of success and failure, affect and affectation, performance and performativity, poetry and being.

Scholarship has traditionally characterized elegy as a Eurocentric tradition – a genealogy spanning from ancient Greek pastoral poems via the “English elegy” to English and Anglo-American Modernist contemporary poets.Perry examines how these genealogical constructions operate as a means of framing which guides interpretation. This book argues that they reflect a necropoetics – a system of principles, precepts and techniques which serve to establish and maintain ideas about whose lives are worthy of being mourned publicly and whose losses matter.Examining elegies that challenge questions of whose deaths may be grieved; elegies which articulate the various ways in which certain lives are made precarious and disposable; and elegies which interrogate colonial violence, structures of white power, militarized forms of policing, prison-industrial and military-industrial complexes, Perry explores possibilities for radical new ways of understanding elegy beyond established genealogical frames.This study retheorizes some basic terms of analysis of contemporary US poetry and poetics, critical race and ethnic studies, racial capitalism and contemporary theories of comparative and relational racialization.

Scholarship has traditionally characterized elegy as a Eurocentric tradition – a genealogy spanning from ancient Greek pastoral poems via the “English elegy” to English and Anglo-American Modernist contemporary poets.Perry examines how these genealogical constructions operate as a means of framing which guides interpretation. This book argues that they reflect a necropoetics – a system of principles, precepts and techniques which serve to establish and maintain ideas about whose lives are worthy of being mourned publicly and whose losses matter.Examining elegies that challenge questions of whose deaths may be grieved; elegies which articulate the various ways in which certain lives are made precarious and disposable; and elegies which interrogate colonial violence, structures of white power, militarized forms of policing, prison-industrial and military-industrial complexes, Perry explores possibilities for radical new ways of understanding elegy beyond established genealogical frames.This study retheorizes some basic terms of analysis of contemporary US poetry and poetics, critical race and ethnic studies, racial capitalism and contemporary theories of comparative and relational racialization.

Examining three literary traditions – post-1960 Asian American, Asian Canadian and Black experimental poetry – this book reframes contemporary scholarly accounts of post-war North American comparative racial group formation, demonstrating how such poetry investigates contemporary Black-Asian relations and maps the complex co-constitution of race and capitalism at different spatial scales.Offering extended close readings of contemporary Black, Asian American and Asian Canadian experimental poets such as Myung Mi Kim, Erica Hunt, Larissa Lai and Ed Roberson, this book argues that these writers redefine race as a changing and politically contested form of constraint and possibility powerfully shaped by economic history and capitalist globalization. This study retheorizes some basic terms of analysis of contemporary US poetry and poetics, critical race and ethnic studies, racial capitalism and contemporary theories of comparative and relational racialization.

Arguing that the 19th century concept of “living form” (the idea that, like an organism, a poem develops itself from within, according to an internal logic) is not, as some critics have argued, anathema to avant-garde writing, this book contends that the concept survived and flourished in the work of a number of contemporary experimental poets. Indebted to 19th century science, the notion of a “living form” endured throughout the 20th century and the poetic vanguard’s word games and collages mirrored the disjunctive frameworks that redefined how scientists made sense of life in the age of networks and non-linear systems. Featuring readings of texts from poets including Ed Dorn, A.M.J. Crawford, P.Inman, Chris Vitiello, and Christian Bök, this book shows how a number of vanguardist poets explores the commonalities they detected between nature’s processes of creation and their own methods of composition. In doing so, it highlights devices like punning, paragrammatic play, metamorphic figuration and memetic repetition, mechanisms these poets find at work in the cybernetic, genetic and digital systems they investigate in their poems.

Arguing that the 19th century concept of “living form” (the idea that, like an organism, a poem develops itself from within, according to an internal logic) is not, as some critics have argued, anathema to avant-garde writing, this book contends that the concept survived and flourished in the work of a number of contemporary experimental poets. Indebted to 19th century science, the notion of a “living form” endured throughout the 20th century and the poetic vanguard’s word games and collages mirrored the disjunctive frameworks that redefined how scientists made sense of life in the age of networks and non-linear systems. Featuring readings of texts from poets including Ed Dorn, A.M.J. Crawford, P.Inman, Chris Vitiello, and Christian Bök, this book shows how a number of vanguardist poets explores the commonalities they detected between nature’s processes of creation and their own methods of composition. In doing so, it highlights devices like punning, paragrammatic play, metamorphic figuration and memetic repetition, mechanisms these poets find at work in the cybernetic, genetic and digital systems they investigate in their poems.

Focusing on the poetry and poetics of four pivotal authors, this book examines how experimental approaches to poetic form in the post-war United States rejected the model of the indivisible subject as the principal locus of artistic creation, and in so doing reframed period-defining questions surrounding the limits and possibilities of human agency.In the decades following the Second World War, poetry in the U.S. was marked by a resurgence of manifesto culture, where practitioners and scholars from a range of political persuasions debated fiercely the common presumptions underpinning the practice and interpretation of poetry. These debates were all primarily concerned with the agency of poetic writing and performance, including what cognitive or affective processes particular formal arrangements can be said to enact within a reader, or how different approaches to the writing and reading of poetry might encourage more desirable modes of acting in the world. Looking specifically at the work of Charles Olson, Langston Hughes, Frank O'Hara and Denise Levertov, this book asks what role poetry plays in conceptualising human agency, and what interdisciplinary place the practice of poetry has within questions typically framed by the disciplines of philosophy and the social sciences.

Offering a new introduction to an important yet often overlooked group of 20th century American poets, this book re-examines their work as a group while giving special attention to their individual trajectories.Objectivist poets’ contribution to American literary history is no longer secret, but the nature of that specific contribution remains surprisingly unclear, and in need of serious revision. Through a range of perceptive close readings, this book offers a detailed assessment of this group—Lorine Niedecker, George Oppen, Carl Rakosi, Charles Reznikoff and Louis Zukofsky—from the 1930s Modernist era to the New American Poetry of the 1950s, all the way to the experimentations of the late 1970s and early 1980s. In doing so, it presents a new critical history of 20th century American poetry and how to engage with it.

Shortlisted for the University English Book Prize 2026The first full-length study of the poet, artist and activist Anna Mendelssohn (1948-2009), this book consolidates Mendelssohn’s reputation as one of the most important avant-garde British poets of her generation and explores her contribution to the powerful tradition of women writing enclosure and escape. Mendelssohn was herself incarcerated in Holloway women’s prison between 1971-76, and her bold and inventive poetry foregrounds and subverts, but does not triumphantly overcome, conditions of constraint. Informed by extensive original archival research, this book reads her highly experimental lyric alongside the poetry of her forerunners and contemporaries, including Nancy Cunard, Muriel Rukeyser and Denise Riley, restoring to view a lost network of radical, Jewish and feminist modernism. With chapters on the poetry of the Spanish Civil War, the legacy of the Holocaust, the Women’s Liberation Movement, the transformation of HMP Holloway in the 1970s and prison abolitionism, Incarceration in the Poetry of Anna Mendelssohn illuminates the historical, political and literary contexts that shape this work and argues that Mendelssohn advances a poetics not of emancipation, but of abolition.

Shortlisted for the University English Book Prize 2026The first full-length study of the poet, artist and activist Anna Mendelssohn (1948-2009), this book consolidates Mendelssohn’s reputation as one of the most important avant-garde British poets of her generation and explores her contribution to the powerful tradition of women writing enclosure and escape. Mendelssohn was herself incarcerated in Holloway women’s prison between 1971-76, and her bold and inventive poetry foregrounds and subverts, but does not triumphantly overcome, conditions of constraint. Informed by extensive original archival research, this book reads her highly experimental lyric alongside the poetry of her forerunners and contemporaries, including Nancy Cunard, Muriel Rukeyser and Denise Riley, restoring to view a lost network of radical, Jewish and feminist modernism. With chapters on the poetry of the Spanish Civil War, the legacy of the Holocaust, the Women’s Liberation Movement, the transformation of HMP Holloway in the 1970s and prison abolitionism, Incarceration in the Poetry of Anna Mendelssohn illuminates the historical, political and literary contexts that shape this work and argues that Mendelssohn advances a poetics not of emancipation, but of abolition.

Providing one of the first book-length accounts of Samuel Beckett’s poetry, this work illustrates how Beckett's poetry, and its failures, reconfigure the lyric form. Reading Beckett alongside nineteenth and twentieth century European poets such as Hölderlin, Mallarmé, Rimbaud, Montale, and Apollinaire, the book situates failure in the triangulation of the lyric impulse, subjectivity, and the human voice.Beckett, in his poems, employs lyric tactics that range from deixis, parataxis, and caesura to specific kinds of timbre, resonances, and punctuations. These tactics situate the poetic voice in the liminal points between life and death, event and non-event, beginning and ending, and more broadly, between expression and failure. The book frames these liminalities under the rubric of 'lyric failure'.Moving beyond the usual comparisons with his prose and drama, the study highlights failure as a generative force that structures Beckett's anti-expressive poetics.