The book examines the modalities of witnessing in the works of
Charles Reznikoff. Associated with the so-called "Objectivist"
group created in New York in the early 1930s, Reznikoff is often
called a poet-witness because the material he draws on in his
poetry and, to a lesser extent in prose, comes from his
observations of urban life and from authentic testimonies he found
in archives. Yet, the process of turning eye-witnessed situations
and contents of depositions given by other witnesses into literary
texts is far from objective. In particular, Reznikoff's use of
archival material is informed by subtly camouflaged manipulation.
To demonstrate various degrees of this change, the book centers on
a comparative juxtaposition of the poet's works with the original
documents.
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