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This book shows how rhythm constitutes an untapped resource for
understanding poetry. Intervening in recent debates over formalism,
historicism, and poetics, the authors show how rhythm is at once a
defamiliarizing aesthetic force and an unstable concept. Distinct
from the related terms to which it's often assimilated-scansion,
prosody, meter-rhythm makes legible a range of ways poetry affects
us that cannot be parsed through the traditional resources of
poetic theory. Rhythm has rich but also problematic roots in
still-lingering nineteenth-century notions of primitive, oral,
communal, and sometimes racialized poetics. But there are reasons
to understand and even embrace its seductions, including its
resistance to lyrical voice and even identity. Through exploration
of rhythm's genealogies and present critical debates, the essays
consistently warn against taking rhythm to be a given form offering
ready-made resources for interpretation. Pressing beyond poetry
handbooks' isolated descriptions of technique or inductive
declarations of what rhythm "is," the essays ask what it means to
think rhythm. Rhythm, the contributors show, happens relative to
the body, on the one hand, and to language, on the other-two
categories that are distinct from the literary, the mode through
which poetics has tended to be analyzed. Beyond articulating what
rhythm does to poetry, the contributors undertake a genealogical
and theoretical analysis of how rhythm as a human experience has
come to be articulated through poetry and poetics. The resulting
work helps us better understand poetry both on its own terms and in
its continuities with other experiences and other arts.
Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie
Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones,
Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins,
Haun Saussy
The first collection of essays dedicated to experimental practice
in contemporary British poetry, Modernist Legacies provides an
overview of the most notable trends in the past 50 years.
Contributors discuss a wide range of poets including Caroline
Bergvall and Barry MacSweeney, showing these poets' connections
with their Modernist predecessors.
What do we mean by 'voice' in poetry? In this work, David Nowell
Smith teases out the diverse meanings of 'voice', from a poem's
soundworld to the rhetorical gestures through which poems speak to
us, in order to embark on a philosophical exploration of the
concept of voice itself.
What do we mean by 'voice' in poetry? In this work, David Nowell
Smith teases out the diverse meanings of 'voice', from a poem's
soundworld to the rhetorical gestures through which poems speak to
us, in order to embark on a philosophical exploration of the
concept of voice itself.
This book shows how rhythm constitutes an untapped resource for
understanding poetry. Intervening in recent debates over formalism,
historicism, and poetics, the authors show how rhythm is at once a
defamiliarizing aesthetic force and an unstable concept. Distinct
from the related terms to which it’s often
assimilated—scansion, prosody, meter—rhythm makes legible a
range of ways poetry affects us that cannot be parsed through the
traditional resources of poetic theory. Rhythm has rich but also
problematic roots in still-lingering nineteenth-century notions of
primitive, oral, communal, and sometimes racialized poetics. But
there are reasons to understand and even embrace its seductions,
including its resistance to lyrical voice and even identity.
Through exploration of rhythm’s genealogies and present critical
debates, the essays consistently warn against taking rhythm to be a
given form offering ready-made resources for interpretation.
Pressing beyond poetry handbooks’ isolated descriptions of
technique or inductive declarations of what rhythm “is,” the
essays ask what it means to think rhythm. Rhythm, the contributors
show, happens relative to the body, on the one hand, and to
language, on the other—two categories that are distinct from the
literary, the mode through which poetics has tended to be analyzed.
Beyond articulating what rhythm does to poetry, the contributors
undertake a genealogical and theoretical analysis of how rhythm as
a human experience has come to be articulated through poetry and
poetics. The resulting work helps us better understand poetry both
on its own terms and in its continuities with other experiences and
other arts. Contributors: Derek Attridge, Tom Cable, Jonathan
Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis,
Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith,
Yopie Prins, Haun Saussy
On the peripheries of UK poetry culture during his lifetime, W. S.
Graham is now recognized one of the great poets of the twentieth
century. In the first concerted study of Graham's poetics in a
generation, David Nowell Smith argues that Graham is exemplary for
the poetics of the mid-century: his extension of modernist
explorations of rhythm and diction; his interweaving of linguistic
and geographic places; his dialogue with the plastic arts; and the
tensions that run through his work, between philosophical
seriousness and play, solitude and sociality, regionalism and
cosmopolitanism, the heft and evanescence of poetry's medium.
Drawing on newly unearthed archival materials, Nowell Smith orients
Graham's poetics around the question of the 'art object'. Graham
sought to craft his poems into honed, finished 'objects'; yet he
was also aware that the poem's 'finished object' is never wholly
finished. Graham's work thus facilitates a broader reflection on
language as a medium for art-making.
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