"When I say this book is a love story, I mean it is about things that cannot be gotten over--like this world, and some of the people in it." In 1819, the poet John Keats wrote six poems that would become known as the Great Odes. Some of them--"Ode to a Nightingale," "To Autumn"--are among the most celebrated poems in the English language. Anahid Nersessian here collects and elucidates each of the odes and offers a meditative, personal essay in response to each, revealing why these poems still have so much to say to us, especially in a time of ongoing political crisis. Her Keats is an unflinching antagonist of modern life--of capitalism, of the British Empire, of the destruction of the planet--as well as a passionate idealist for whom every poem is a love poem. The book emerges from Nersessian's lifelong attachment to Keats's poetry; but more, it "is a love story: between me and Keats, and not just Keats." Drawing on experiences from her own life, Nersessian celebrates Keats even as she grieves him and counts her own losses--and Nersessian, like Keats, has a passionate awareness of the reality of human suffering, but also a willingness to explore the possibility that the world, at least, could still be saved. Intimate and speculative, this brilliant mix of the poetic and the personal will find its home among the numerous fans of Keats's enduring work.

"When I say this book is a love story, I mean it is about things that cannot be gotten over-like this world, and some of the people in it." In 1819, the poet John Keats wrote six poems that would become known as the Great Odes. Some of them-"Ode to a Nightingale," "To Autumn"-are among the most celebrated poems in the English language. Anahid Nersessian here collects and elucidates each of the odes and offers a meditative, personal essay in response to each, revealing why these poems still have so much to say to us, especially in a time of ongoing political crisis. Her Keats is an unflinching antagonist of modern life-of capitalism, of the British Empire, of the destruction of the planet-as well as a passionate idealist for whom every poem is a love poem. The book emerges from Nersessian's lifelong attachment to Keats's poetry; but more, it "is a love story: between me and Keats, and not just Keats." Drawing on experiences from her own life, Nersessian celebrates Keats even as she grieves him and counts her own losses-and Nersessian, like Keats, has a passionate awareness of the reality of human suffering, but also a willingness to explore the possibility that the world, at least, could still be saved. Intimate and speculative, this brilliant mix of the poetic and the personal will find its home among the numerous fans of Keats's enduring work.

"When I say this book is a love story, I mean it is about things that cannot be gotten over--like this world, and some of the people in it." In 1819, the poet John Keats wrote six poems that would become known as the Great Odes. Some of them--"Ode to a Nightingale," "To Autumn"--are among the most celebrated poems in the English language. Anahid Nersessian here collects and elucidates each of the odes and offers a meditative, personal essay in response to each, revealing why these poems still have so much to say to us, especially in a time of ongoing political crisis. Her Keats is an unflinching antagonist of modern life--of capitalism, of the British Empire, of the destruction of the planet--as well as a passionate idealist for whom every poem is a love poem. The book emerges from Nersessian's lifelong attachment to Keats's poetry; but more, it "is a love story: between me and Keats, and not just Keats." Drawing on experiences from her own life, Nersessian celebrates Keats even as she grieves him and counts her own losses--and Nersessian, like Keats, has a passionate awareness of the reality of human suffering, but also a willingness to explore the possibility that the world, at least, could still be saved. Intimate and speculative, this brilliant mix of the poetic and the personal will find its home among the numerous fans of Keats's enduring work.

Romanticism coincided with two major historical developments: the Industrial Revolution, and with it, a turning point in our relationship to the earth, its inhabitants, and its climate. Drawing on Marxism and philosophy of science, The Calamity Form shines new light on Romantic poetry, identifying a number of rhetorical tropes used by writers to underscore their very failure to make sense of our move to industrialization. Anahid Nersessian explores works by Friedrich Hoelderlin, William Wordsworth, John Keats, and others to argue that as the human and ecological costs of industry became clear, Romantic poetry adopted formal strategies-among them parataxis, the setting of elements side by side in a manner suggestive of postindustrial dissonance, and apostrophe, here an address to an absent or vanishing natural environment-as it tried and failed to narrate the calamities of capitalism. These tropes reflect how Romantic authors took their bewilderment and turned it into a poetics: a theory of writing, reading, and understanding poetry as an eminently critical act. Throughout, Nersessian pushes back against recent attempts to see literature as a source of information on par with historical or scientific data, arguing instead for an irreducibility of poetic knowledge. Revealing the ways in which these Romantic works are of their time but not about it, The Calamity Form ultimately exposes the nature of poetry's relationship to capital-and capital's ability to hide how it works.

What is utopia if not a perfect world, impossible to achieve? Anahid Nersessian reveals a basic misunderstanding lurking behind that ideal. In Utopia, Limited she enlists William Blake, William Wordsworth, John Keats, and others to redefine utopianism as a positive investment in limitations. Linking the ecological imperative to live within our means to the aesthetic philosophy of the Romantic period, Nersessian's theory of utopia promises not an unconditionally perfect world but a better world where we get less than we hoped, but more than we had. For the Romantic writers, the project of utopia and the project of art were identical. Blake believed that without limits, a work of art would be no more than a set of squiggles on a page, or a string of nonsensical letters and sounds. And without boundaries, utopia is merely an extension of the world as we know it, but blighted by a hunger for having it all. Nersessian proposes that we think about utopia as the Romantics thought about aesthetics-as a way to bind and thereby emancipate human political potential within a finite space. Grounded in an intellectual tradition that begins with Immanuel Kant and includes Theodor Adorno and Northrop Frye, Utopia, Limited lays out a program of "adjustment" that applies the lessons of art to the rigors of life on an imperiled planet. It is a sincere response to environmental devastation, offering us a road map through a restricted future.

Romanticism coincided with two major historical developments: the Industrial Revolution, and with it, a turning point in our relationship to the earth, its inhabitants, and its climate. Drawing on Marxism and philosophy of science, The Calamity Form shines new light on Romantic poetry, identifying a number of rhetorical tropes used by writers to underscore their very failure to make sense of our move to industrialization. Anahid Nersessian explores works by Friedrich Hoelderlin, William Wordsworth, John Keats, and others to argue that as the human and ecological costs of industry became clear, Romantic poetry adopted formal strategies-among them parataxis, the setting of elements side by side in a manner suggestive of postindustrial dissonance, and apostrophe, here an address to an absent or vanishing natural environment-as it tried and failed to narrate the calamities of capitalism. These tropes reflect how Romantic authors took their bewilderment and turned it into a poetics: a theory of writing, reading, and understanding poetry as an eminently critical act. Throughout, Nersessian pushes back against recent attempts to see literature as a source of information on par with historical or scientific data, arguing instead for an irreducibility of poetic knowledge. Revealing the ways in which these Romantic works are of their time but not about it, The Calamity Form ultimately exposes the nature of poetry's relationship to capital-and capital's ability to hide how it works.