Verbal Art: Studies in Poetics – serie

This book begins with a silence. While Jewish American fiction has long been recognized as a fit subject for critical inquiry, Jewish American poetry has largely been overlooked. Recently, a few books have started to redress this silence, focusing on some specific Jewish American poets. However, even as these studies begin to identify specific individuals as "Jewish American poets," the field must be theorized so that we might understand this fascinating occlusion. Poetic forms need to be identified; and the material difference of Jewish cultural practice must be taken into account. Taking a broad view of the subject, Singing in a Strange Land asks: How does being Jewish-in-America affect poetic production? And how does poetry help shape Jewish American identity? Beginning with a historical inquiry into the status of Jewish poetry as a marginalized kind of writing, and moving on to detailed analyses of poets including Allen Ginsberg, Adrienne Rich, Louis Zukofsky, Louise Glück, George Oppen, and Allen Grossman, Singing in a Strange Land helps us think about the ways in which displacement, exile, mourning, gender, and prayer contribute to the shaping of the Jewish American imagination and its poetic production.

This book has two main subjects which are interwoven: the attitudes of selected poets (including Neruda, Rilke, Breton, Celan, and Artaud) to the "primitive" and the "archaic," studied from an anthropologist's viewpoint; and a model of the processes whereby poetry is produced and received, built on the author's successful careers as both poet and anthropologist. The book includes detailed biographical information about how Tarn went from being a French to an English to an American poet. It also reveals the effect of a double career and of these moves on a unique body of poetry and theoretical work. An extremely substantial interview, serving also as an introduction to, and discussion of, the essays, demonstrates that there is nothing like this work to be found elsewhere.

This book has two main subjects which are interwoven: the attitudes of selected poets (including Neruda, Rilke, Breton, Celan, and Artaud) to the "primitive" and the "archaic," studied from an anthropologist's viewpoint; and a model of the processes whereby poetry is produced and received, built on the author's successful careers as both poet and anthropologist. The book includes detailed biographical information about how Tarn went from being a French to an English to an American poet. It also reveals the effect of a double career and of these moves on a unique body of poetry and theoretical work. An extremely substantial interview, serving also as an introduction to, and discussion of, the essays, demonstrates that there is nothing like this work to be found elsewhere.

Flint on a Bright Stone closes a significant gap in the history of Modernist poetry by identifying the existence of "Tempered Modernism," which blossomed in the first two decades of the twentieth century, and was exemplified by the early works of Akhmatova, Rilke, H. D., and Williams. While the international nature of Radical Modernism, such as Futurism, Expressionism, and Dadaism, has been well documented, the connections among Tempered Modernists have been ignored. This is the first book to delineate thoroughly the international nature of this phenomenon—an evolutionary alternative to the revolutionary Futurist techniques of shock and rupture. Tempered Modernists sought newness through precision, palpability, equilibrium, and restraint, crafting small poems that found beauty in the subdued, ordinary, and everyday.