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Literary history generally locates the primary movement toward
poetic innovation in twentieth-century modernism, an impulse
carried out against a supposedly enervated "late-Romantic" poetry
of the nineteenth century. The original essays in "Active
Romanticism" challenge this interpretation by tracing the
fundamental continuities between Romanticism's poetic and political
radicalism and the experimental movements in poetry from the
late-nineteenth-century to the present day.
According to editors July Carr and Jeffrey C. Robinson, "active
romanticism" is a poetic response, direct or indirect, to pressing
social issues and an attempt to redress forms of ideological
repression; at its core, "active romanticism" champions democratic
pluralism and confronts ideologies that suppress the evidence of
pluralism. "Poetry fetter'd, fetters the human race," declared poet
William Blake at the beginning of the nineteenth century. No other
statement from the era of the French Revolution marks with such
terseness the challenge for poetry to participate in the liberation
of human society from forms of inequality and invisibility. No
other statement insists so vividly that a poetic event pushing for
social progress demands the unfettering of traditional, customary
poetic form and language.
Bringing together work by well-known writers and critics," "ranging
from scholarly studies to poets' testimonials, "Active Romanticism
"shows Romantic poetry not to be the sclerotic corpse against which
the avant-garde reacted but rather the well-spring from which it
flowed.
Offering a fundamental rethinking of the history of modern poetry,
Carr and Robinson have grouped together in this collection a
variety of essays that confirm the existence of Romanticism as an
ongoing mode of poetic production that is innovative and dynamic, a
continuation of the nineteenth-century Romantic tradition, and a
form that reacts and renews itself at any given moment of perceived
social crisis.
The previous two volumes of this acclaimed anthology set forth a
globally decentered revision of twentieth-century poetry from the
perspective of its many avant-gardes. Now editors Jerome Rothenberg
and Jeffrey C. Robinson bring a radically new interpretation to the
poetry of the preceding century, viewing the work of the romantic
and post-romantic poets as an international, collective, often
utopian enterprise that became the foundation of experimental
modernism. Global in its range, volume three gathers selections
from the poetry and manifestos of canonical poets, as well as the
work of lesser-known but equally radical poets. Defining
romanticism as experimental and visionary, Rothenberg and Robinson
feature prose poetry, verbal-visual experiments, and sound poetry,
along with more familiar forms seen here as if for the first time.
The anthology also explores romanticism outside the European orbit
and includes ethnopoetic and archaeological works outside the
literary mainstream. The range of volume three and its skewing of
the traditional canon illuminate the process by which romantics and
post- romantics challenged nineteenth-century orthodoxies and
propelled poetry to the experiments of a later modernism and
avant-gardism.
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