|
Showing 1 - 15 of
15 matches in All Departments
In this book, Rachel Blau DuPlessis shows how, through poetic language, modernist writers represented the debates around such social issues of modernity as suffrage, sexuality, manhood, and African-American and Jewish subjectivities. DuPlessis engages with the work of such canonical poets as Wallace Stevens, Ezra Pound, T. S. Eliot, William Carlos Williams, Gertrude Stein, Marianne Moore and H. D., as well as Mina Loy, Countee Cullen, Alfred Kreymborg and Langston Hughes, writers still marginalized by existing constructions of modernism.
In this book, Rachel Blau DuPlessis shows how, through poetic language, modernist writers represented the debates around such social issues of modernity as suffrage, sexuality, manhood, and African-American and Jewish subjectivities. DuPlessis engages with the work of such canonical poets as Wallace Stevens, Ezra Pound, T. S. Eliot, William Carlos Williams, Gertrude Stein, Marianne Moore and H. D., as well as Mina Loy, Countee Cullen, Alfred Kreymborg and Langston Hughes, writers still marginalized by existing constructions of modernism.
Poet George Oppen (1908–1984) and artist and writer Mary Oppen
(1908–1990) were striking, exemplary, and somewhat mysterious
cultural figures of the last decades of the twentieth century. To a
younger group of artists, George Oppen functioned as a mentor, an
irritant, and a supporter. Together, because of their intense and
unique union, the Oppens provided a model of the companionate
artistic life. In this book the poets, editors, writers, composers,
and teachers who knew the couple consider their encounters and
relationships with George and Mary Oppen. Set at a politically
crucial time in US history, from the Cold War through the Vietnam
War and the women’s movement, the essays show how people tried to
integrate art and politics in the spirit of the Oppens’ own
debates and choices.
|
Signets - Reading H.D. (Paperback)
Susan Stanford Friedman (Professor of English and Women's Studies, University of Wisconsin-Madison, USA), Rachel Blau Duplessis (Professor of English, Temple University, USA)
|
R997
Discovery Miles 9 970
|
Ships in 10 - 15 working days
|
"Signets" brings together the best essays of H.D. (Hilda
Doolittle). Susan Stanford Friedman and Rachel Blau DuPlessis have
gathered the most influential and generative studies of H. D.'s
work and complemented them with photobiographical, chronological,
and bibliographical portraits unique to this volume.
The essays in "Signets" span H. D.'s career from the origins of
Imagism to late modernism, from the early poems of "Sea Garden" to
the novel "HER" and the epic poems "Trilogy" and "Helen in Egypt."
In addition to the editors, the contributors are Diana Collecott,
Robert Duncan, Albert Gelpi, Eileen Gregory, Susan Gubar, Barbara
Guest, Elizabeth A. Hirsch, Deborah Kelly Kloepfer, Cassandar
Laity, Adalaide Morris, Alicia Ostriker, Cyrena N. Pondrom, Perdita
Schaffner, and Louis H. Silverstein.
"Signets" is an essential resource for those interested in H. D.,
modernism, and feminist criticism and writing.
A masterful meditation on our most mercurial and abiding of poetic
forms—the long poem  For decades, Rachel Blau DuPlessis
has shown readers how genres, forms, and the literal acts of
writing and reception can be understood as sites of struggle. In
her own words, “writing is . . . a
praxis . . . in which the author disappears into
a process, into a community, into discontinuities, and into a
desire for discovery.†It is cause for celebration, then, that we
have another work of warm, incisive, exploratory writing from
DuPlessis in A Long Essay on the Long Poem. Long poems, DuPlessis
notes, are elusive, particularly in the slippery forms that have
emerged in the postmodern mode. She cites both Nathaniel Mackey and
Anne Waldman in thinking of the poem as a “box,†both in the
sense of a vessel that contains and as a machine that processes, an
instrument on which language is played. This study’s central
attention is on the long poem as a sociocultural Book,
distinctively envisioned by a range of authors. To reckon with
these shifting and evolving forms, DuPlessis works in a polyvalent
mode, a hybrid of critical analysis and speculative essay. She
divides the long poem and the long poets into three genres: epics,
quests, and a composite she terms “assemblages.†The poets she
surveys include T. S. Eliot, Ezra Pound, H.D., Louis
Zukofsky, Gwendolyn Brooks, Charles Olson, Alice Notley, Nathaniel
Mackey, Ron Silliman, Robert Duncan, Kamau Brathwaite, and,
finally, MallarmÉ and Dante. Instead of a traditional lineage, she
deliberately seeks intersecting patterns of connection between
poems and projects, a nexus rather than a family tree. In doing so
she navigates both some challenges of long poems and her own
attempt to “essay†them. The result is a fascinating and
generous work that defies categorization as anything other than
essential.
|
Imagining the Jewish God (Hardcover)
Leonard Kaplan, Ken Koltun-Fromm; Contributions by Rebecca Alpert, Charles Bernstein, Rachel Blau Duplessis, …
|
R5,112
Discovery Miles 51 120
|
Ships in 10 - 15 working days
|
Jewish art has always been with us, but so has a broader canvas of
Jewish imaginings: in thought, in emotion, in text, and in ritual
practice. Imagining the Jewish God was there in the beginning, as
it were, engraved and embedded in the ways Jews lived and responded
to their God. This book attempts to give voice to these diverse
imaginings of the Jewish God, and offers these collected essays and
poems as a living text meant to provoke a substantive and
nourishing dialogue. A responsive, living covenant lies at the
heart of this book-a covenantal reciprocity that actively engages
the dynamics of Jewish thinking and acting in dialogue with God.
The contributors to this volume are committed to this form of
textual reasoning, even as they all move us beyond the "text" as
foundational for the imagined "people of the book." That people, we
submit, lives and breathes in and beyond the texts of poetry,
narrative, sacred literature, film, and graphic mediums. We imagine
the Jewish people, and the covenant they respond to, as provocative
intimations of the divine. The essays in this volume seek to draw
these vocal intimations out so that we can all hear their resonant
call.
A surge into twenty-first century poetry and poetics, a book of
passionate poetic energies and odic verve, Surge is the
provocative, open-ended ending to DuPlessis's twenty-six year long
poem project, Drafts. This work exemplifies a tertium quid,
transcending poetic schools and critical binaries with its fusions
of intellection and emotion, with its reassessments of Dante,
Eliot, Duchamp, with its witty genre experimentation, with its
strands of eco-poetics, feminist analysis, conceptual torques, and
unstinting poetic commitment. The book contains a contemporary
mirror of The Waste Land, a striking political-emotional reflection
on divided cities, an investigation of gender in a work of poet's
theater, a ballad on science and reality, an index, a canzone
and--over all--a scintillating texture of meditation in which the
analytic lyric is intensified by the refractions of gloss.
Rachel Blau DuPlessis has, to cite Walter Benjamin, "an edgy
attraction to history's material residues." This has been one
motivation of Drafts as a decade-long project, and it is a central
motivation for The Collage Poems of Drafts. This book consists of
two sequenced mixed-media works for reading and looking that move
back and forth across the porous border between language and image.
Draft 94: Mail Art alludes to the international collage exchanges
send by the post; Draft CX: Primer examines the suggestiveness of
the alphabet as one baseline of language and poetry, one method of
making signs. Both works suggest the transport of daily life. These
collages are acts of making, layering, and evoking by
juxtaposition. They are cryptic, gnomic, even partly narrative, but
as a whole they announce her fundamental commitment to
juxtaposition--via syntax and segment in the poetry, and via image
and color in the collages. They produce actualized metaphor, with
talismanic signage, gnomic language, color, script, string--a
thread of suggestive meanings set in play. These works are part of
the bricolaging, anti-monumental sensibility of the work as a
whole. They glean, they unpack and layer, they deturn images, they
rescue and reframe the debris.
Pitch: Drafts 77-95 is a skeptical monument built and reassembled
by a continuous folding over itself - tracking an encounter with an
edge we might pitch over, with the pitch dark of our time, with our
lurching desires to do the necessary work of seeing and
understanding. Anchored by two major serial poems proposing a
poetics of the trace and responding to a key work of George Oppen,
DuPlessis continues in this fifth book of nineteen poems working
with themes of awe and grief, of confrontation with the world as it
is and the projection, from the shards, of chips and gleams of
another world. The work is multi-generic, with a dazzling range
from proverbs, fragments and interrogations to lists and open-page
works. Drafts embodies and exfoliates a poetics of critique inside
poetry, producing one of the more distinctive ethical-aesthetic
practices in contemporary poetry. Other highlights of this
collection are a two-poem dialogue with a work of Ingeborg
Bachmann, a rewriting of a work of S.T. Coleridge, and an
investigation of the meaning of writing that incorporates a
serio-comic playlet between R and her Pen.
Twisted, knotted, struck by events and emotions at our historical
moment, these Drafts register and produce torques - exaltation and
tension, torsion and force, in their symphonic and bantering
surges. In this book, DuPlessis transposes Wordsworth, Mallarme,
Pound and Rilke; she writes doggerel, a lexicon, dialogues, a
mini-manifesto, and lyrics from a spirit voice. This book continues
the ambitious long poem project that Ron Silliman has called "one
of the major poetic achievements of our time." Drafts, begun in
1986, manifests thematic and emotional investments centering on
loss, struggle, and hope, on the unsayable and "anguage" - the
language of anguish. Two main formal and structural principles
center this work, repetition and the fold. The works repeat themes
and images throughout, a recontextualization of materials, a
building of traces, and a repetitive repositioning of images and
narrative that also suggests both the waywardness of experience and
a pensive responsiveness to what happens.
This book brings Drafts, the long poem by Rachel Blau DuPlessis, to
its mid-point. A polyphonic work, both monumental and provisional,
Drafts asks how to represent our sense of direness and ethical
crises, the awe, asonishment, skepticism and pleasure: that all
this is. This installment of nineteen Drafts is dedicated to its
own poetic and political communities, offering these dedications as
pledges to transformation out of social rage and out of
grief-inflected hope. The book also contains a witty "summary" of
all fifty-seven Drafts to date. This book makes clear the ways
DuPlessis' long poem is a midrashic response to the long poems of
modernism and the tolls of modernity. She is a poet of polysemy, of
negativity, of critique. Of Drafts, Walter Kaladjian remarked,
"DuPlessis' avant-garde procedures are imbricated in an
ethicopolitical mode of poetic testimony." Nathaniel Mackey said
that Drafts "affirm and negate the toll history takes on letter and
spirit, affirming and negating and navigating a way between."
In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which
mimics memory and its losses, and which plays with the textures of
memory, including its unexpectedness, its flashes and
disappearances. Her recurrent motifs and materials include home,
homelessness and exile; death and the memory of the dead; political
grief and passion; silence, speech, the sayable and the ineffable.
Drafts 1-38, Toll functions as a long poem comprised of 38 pieces,
or drafts. These poems are conceived as autonomous "canto-like"
sections that work on two procedural principles. One is the random
repetition of lines or phrases across poems, a self-questioning,
processual, and reconceptualizing strategy that honors the term
"drafts." A second procedural principle is "the fold." This is the
reconsideration of a "donor draft" and the deployment of some
aspect in the donor draft in a related draft. The periodicity of
this reconsideration is the number 19; hence drafts 1-19 make up
the original layer, while drafts 20-38 constitute the first fold on
top of this material.
"The Feminist Memoir Project has put back in the historical record
dozens of urgent voices that were on the verge of being lost
forever. What a fascinating, vital-and vitally important
book."-Katha Pollitt The women of The Feminist Memoir Project give
voice to the spirit, the drive, and the claims of the Women's
Liberation Movement they helped shape, beginning in the late 1960s.
These thirty-two writers were among the thousands to jump-start
feminism in the late twentieth century. Here, in pieces that are
passionate, personal, critical, and witty, they describe what it
felt like to make history, to live through and contribute to the
massive social movement that transformed the nation. What made
these particular women rebel? And what experiences, ideas,
feelings, and beliefs shaped their activism? How did they maintain
the will and energy to keep such a struggle going for so long, and
continuing still? Memoirs and responses by Kate Millett, Vivian
Gornick, Michele Wallace, Alix Kates Shulman, Joan Nestle, Jo
Freeman, Yvonne Rainer, Barbara Smith, Ellen Willis, Eve Ensler,
Shirley Geok-lin Lim, Roxanne Dunbar, Naomi Weisstein, Alice
Wolfson and many more embody the excitement that fueled the
movement and the conflicts that threatened it from within. Their
stories trace the ways the world has changed. Rachel Blau DuPlessis
is a professor of English and women's studies at Temple University
and lives in Philadelphia, Pennsylvania. Ann Snitow is a professor
of literature and gender studies at The New School for Social
Research and lives in New York City.
|
You may like...
Hot Water
Nadine Dirks
Paperback
R265
R207
Discovery Miles 2 070
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Poor Things
Emma Stone, Mark Ruffalo, …
DVD
R449
R329
Discovery Miles 3 290
|