Literary individualism first manifests itself in the twelfth century in word puzzles and overt self-naming, as well as in discussions about the nature of writing and the role of the poet in the world. Guillem IX, Marcabru, Dante, Chaucer, and Langland were poets and intellectuals. This engaging study traces their claims of authorship, not to a need for what modernity views as self-promotion, but rather to their interests in contemporary philosophical debates. Yet in their creations of both history and fiction, these poets anticipated modern narrative and its literary persona.

The Poetry and Poetics of Michael Heller: A Nomad Memory is the first comprehensive treatment of a singularly important American poet of the twentieth and twenty-first centuries. Michael Heller (b. 1937) has amassed a body of poetry and criticism that places him in the vanguard of modern literature, and this essay collection provides the first extensive critical treatment of his varied career. This book 's multifaceted appraisal of his engagement with poetry as well as crucial ideas across various traditions establishes him as a preeminent writer among his contemporaries and younger generations, and as a major poet in any era.

In a daring rewrite of literary history, this volume argues that the medieval poet and musician Guillaume de Machaut was the major influence in narrative craft during the late Middle Ages and long after. Examining Machaut's series of debate poems, part of the French tradition of the "dit amoureux" (love tales), contributors highlight the genre's authorial self-consciousness, polyvocality, and ambiguity of judgment. They contend that Machaut led the way in developing and spreading these radical techniques and that his innovations in form and content were forerunners of the modern novel.

The New American Poetry: Fifty Years Later is a collection of critical essays on Donald Allen's 1960 seminal anthology, The New American Poetry, an anthology that Marjorie Perloff once called "the fountainhead of radical American poetics." The New American Poetry is referred to in every literary history of post-World War II American poetry. Allen's anthology has reached its fiftieth anniversary, providing a unique time for reflection and reevaluation of this preeminent collection. As we know, Allen's anthology was groundbreaking-it was the first to distribute widely the poetry and theoretical positions of poets such as Charles Olson, Allen Ginsberg and the Beats, and it was the first to categorize these poets by the schools (Black Mountain, New York School, San Francisco Renaissance, and the Beats) by which they are known today. Over the course of fifty years, this categorization of poets into schools has become one of the major, if not only way, that The New American Poetry is remembered or valued; one certain goal of this volume, as one reviewer invites, is to "pry The New American Poetry out from the hoary platitudes that have encrusted it." To this point critics mostly have examined The New American Poetry as an anthology; former treatments of The New American Poetry look at it intently as a whole. Though the almost singularly-focused study of its construction and, less often, reception has lent a great deal of documented, highly visible and debated material in which to consider, we have been left with certain notions about its relevance that have become imbued ultimately in the collective critical consciousness of postmodernity. This volume, however, goes beyond the analysis of construction and reception and achieves something distinctive, extending those former treatments by treading on the paths they create. This volume aims to discover another sense of "radical" that Perloff articulated-rather than a radical that departs markedly from the usual, we invite consideration of The New American Poetry that is radical in the sense of root, of harboring something fundamental, something inherent, as we uncover and trace further elements correlated with its widespread influence over the last fifty years.