"English literature," Yeats once noted, "has all but completely
shaped itself in the printing press." Finding this true
particularly of modernist writing, Jerome McGann demonstrates the
extraordinary degree to which modernist styles are related to
graphic and typographic design, to printed letters--"black riders"
on a blank page--that create language for the eye. He sketches the
relation of modernist writing to key developments in book design,
beginning with the nineteenth-century renaissance of printing, and
demonstrates the continued interest of postmodern writers in the
"visible language" of modernism. McGann then offers a philosophical
investigation into the relation of knowledge and truth to this kind
of imaginative writing.
Exploring the work of writers like William Morris, Emily
Dickinson, W. B. Yeats, Ezra Pound, and Gertrude Stein, as well as
Laura Riding and Bob Brown, he shows how each exploits the
visibilities of language, often by aligning their work with older
traditions of so-called Adamic language. McGann argues that in
modernist writing, philosophical nominalism emerges as a key
aesthetic point of departure. Such writing thus develops a
pragmatic and performative "answer to Plato" in the matter of
poetry's relation to truth and philosophy.
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