The world is full of copies. This proliferation includes not just the copying that occurs online and the replication enabled by globalization but the works of avant-garde writers challenging cultural and political authority. In Make It the Same, Jacob Edmond examines the turn toward repetition in poetry, using the explosion of copying to offer a deeply inventive account of modern and contemporary literature. Make It the Same explores how poetry-an art form associated with the singular, inimitable utterance-is increasingly made from other texts through sampling, appropriation, translation, remediation, performance, and other forms of repetition. Edmond tracks the rise of copy poetry across media from the tape recorder to the computer and through various cultures and languages, reading across aesthetic, linguistic, geopolitical, and technological divides. He illuminates the common form that unites a diverse range of writers from dub poets in the Caribbean to digital parodists in China, samizdat wordsmiths in Russia to Twitter-trolling provocateurs in the United States, analyzing the works of such writers as Kamau Brathwaite, Dmitri Prigov, Yang Lian, John Cayley, Caroline Bergvall, M. NourbeSe Philip, Kenneth Goldsmith, Vanessa Place, Christian Boek, Yi Sha, Hsia Yu, and Tan Lin. Edmond develops an alternative account of modernist and contemporary literature as defined not by innovation-as in Ezra Pound's oft-repeated slogan "make it new"-but by a system of continuous copying. Make It the Same transforms global literary history, showing how the old hierarchies of original and derivative, center and periphery are overturned when we recognize copying as the engine of literary change.

London based Yang Lian is a celebrated Chinese poet and essayist, widely known both inside and outside China. He was invited to visit New Zealand in 1988, and arrived in Auckland in 1989, where he was at the time of the Tiananmen Square massacre. His subsequent four traumatic years in New Zealand were extremely productive artistically and made his name internationally. ""Unreal City"" presents, in an English translation, a selection of poems from this period, as well as a number of his essays, appearing in English for the first time, which meditate upon the experience of living in an Antipodean city from a startling, fresh perspective. These fascinating and moving texts are accompanied by notes and an introduction, which sets Yang's work in the context of Chinese, New Zealand and world literature.

Why is our world still understood through binary oppositions-East and West, local and global, common and strange-that ought to have crumbled with the Berlin Wall? What might literary responses to the events that ushered in our era of globalization tell us about the rhetorical and historical underpinnings of these dichotomies? In A Common Strangeness, Jacob Edmond exemplifies a new, multilingual and multilateral approach to literary and cultural studies. He begins with the entrance of China into multinational capitalism and the appearance of the Parisian fli 1/2neur in the writings of a Chinese poet exiled in Auckland, New Zealand. Moving among poetic examples in Russian, Chinese, and English, he then traces a series of encounters shaped by economic and geopolitical events from the Cultural Revolution, perestroika, and the June 4 massacre to the collapse of the Soviet Union, September 11, and the invasion of Iraq. In these encounters, Edmond tracks a shared concern with strangeness through which poets contested old binary oppositions as they reemerged in new, post-Cold War form

Before and since his enforced exile, Yang Lian has been one of the most innovative and influential poets in China. Widely hailed in America and Europe as a highly individual voice in world literature, he has been translated into many languages. "Lee Valley Poems" is his first book to be wholly conceived and written in London, once his place of exile and now his permanent home. It includes an extended sequence, "When Water Confirms", translated by Brian Holton and Agnes Hung-Chong Chan, and a suite of shorter poems translated by several poets, most of these working with Yang Lian: Polly Clark, Antony Dunn, Jacob Edmond, W.N. Herbert, Pascale Petit, Fiona Sampson and Arthur Sze. The book's preface, A Wild Goose Speaks to me, takes as its springboard Yang Lian's comment 'There is no international, only different locals'. With this perspective, the Lee Valley of his first London poems becomes the international inside the local: the poet may travel far but never really leaves the ground of his own inner self, and the value and joy of poetry is seen as fishing in the deep sea of existence. This title is published in a dual language Chinese-English edition.

Chinese Poetry and Translation: Rights and Wrongs offers fifteen essays on the triptych of poetry + translation + Chinese. The collection has three parts: "The Translator's Take," "Theoretics," and "Impact." The conversation stretches from queer-feminist engagement with China's newest poetry to philosophical and philological reflections on its oldest, and from Tang- and Song-dynasty classical poetry in Western languages to Baudelaire and Celan in Chinese. Translation is taken as an interlingual and intercultural act, and the essays foreground theoretical expositions and the practice of translation in equal but not opposite measure. Poetry has a transforming yet ever-acute relevance in Chinese culture, and this makes it a good entry point for studying Chinese-foreign encounters. Pushing past oppositions that still too often restrict discussions of translation-form versus content, elegance versus accuracy, and "the original" versus "the translated" - this volume brings a wealth of new thinking to the interrelationships between poetry, translation, and China.

The world is full of copies. This proliferation includes not just the copying that occurs online and the replication enabled by globalization but the works of avant-garde writers challenging cultural and political authority. In Make It the Same, Jacob Edmond examines the turn toward repetition in poetry, using the explosion of copying to offer a deeply inventive account of modern and contemporary literature. Make It the Same explores how poetry-an art form associated with the singular, inimitable utterance-is increasingly made from other texts through sampling, appropriation, translation, remediation, performance, and other forms of repetition. Edmond tracks the rise of copy poetry across media from the tape recorder to the computer and through various cultures and languages, reading across aesthetic, linguistic, geopolitical, and technological divides. He illuminates the common form that unites a diverse range of writers from dub poets in the Caribbean to digital parodists in China, samizdat wordsmiths in Russia to Twitter-trolling provocateurs in the United States, analyzing the works of such writers as Kamau Brathwaite, Dmitri Prigov, Yang Lian, John Cayley, Caroline Bergvall, M. NourbeSe Philip, Kenneth Goldsmith, Vanessa Place, Christian Boek, Yi Sha, Hsia Yu, and Tan Lin. Edmond develops an alternative account of modernist and contemporary literature as defined not by innovation-as in Ezra Pound's oft-repeated slogan "make it new"-but by a system of continuous copying. Make It the Same transforms global literary history, showing how the old hierarchies of original and derivative, center and periphery are overturned when we recognize copying as the engine of literary change.