This original and authoritative book offers a first-ever attempt to
define a poetics of the editing arts. It proposes a new field of
editing studies, in which the 'ideal editor' can be understood in
relation to the long-theorised author and reader. The book's
premise is that editing, like other forms of 'making', is mostly
invisible and can only be brought into full view through a
comparative analysis that includes the insights of practitioners.
The argument, laid down in careful layers, is supported by a
panoramic historical narrative that tracks the shifts in textual
authority from religious and secular institutions to the
romanticised self of the digital present. The dangers posed by the
anti-editing rhetoric of this hybrid romanticism are confronted
head-on. To the traditional perception of editing as the imposition
of closure, A Poetics of Editing adds a perspective on a dynamic
process with a sense of the possible.
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