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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.
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.
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.
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