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Pitch of Poetry.

By: Bernstein, Charles.
Material type: TextTextSeries: eBooks on Demand.Publisher: Chicago : University of Chicago Press, 2016Description: 1 online resource (362 p.).ISBN: 9780226332116.Genre/Form: Electronic books.Additional physical formats: Print version:: Pitch of PoetryLOC classification: PN1136 | .B476 2016Online resources: Click here to view this ebook.
Contents:
Contents -- Preface -- I. L=A=N=G=U=A=G=E -- In Unum Pluribus: Toward a More Perfect Invention -- You Can't Evict an Idea: The Poetics of Occupy Wall Street (with Jane Malcolm) -- Sounding the Word -- This Picture Intentionally Left Blank -- Disfiguring Abstraction -- The Expanded Field of L=A=N=G=U=A=G=E -- Coda: Enough! -- II. Pitch -- Gertrude Stein: The Difference Is Spreading -- Louis Zukofsky -- Charles Olson: A Note on "The Kingfishers" -- Paul Celan's Folds and Veils -- Barbara Guest: Composing Herself -- Jackson Mac Low: Poetry as Art -- Robin Blaser's Holy Forest
Robert Creeley: Hero of the Local -- Larry Eigner's Endless Song -- John Ashbery: The Meandering Yangtze -- Hannah Weiner's Medium -- Haroldo de Campos Thou Art Translated (Knot) -- Jerome Rothenberg: Double Preface -- "And autumnstruck we would not hear the song": On Thomas McEvilley -- Leslie Scalapino's Rhythmic Intensities -- Maggie O'Sullivan: Colliderings -- Johanna Drucker: Figuring the Word -- III. Echopoetics -- Contemporary Literature (with Allison Cummings and Rocco Marinaccio) -- Musica Falsa: On Shadowtime (with Eric Denut) -- Foreign Literature Studies (with Nie Zhenzhao)
The Humanities at Work (with Yubraj Aryal) -- Bomb (with Jay Sanders) -- Chicago Weekly (with Daniel Benjamin) -- FSG Poetry: All That Glitters Is Not Costume Jewelry (with Alan Gilbert) -- Revista Canaria de Estudios Ingleses: Editing as Com(op)posing (with Manuel Brito) -- Études anglaises: Poetry's Clubfoot-Process, Faktura, Intensification (with Penelope Galey-Sacks) -- Evening Will Come: Off-Key (with Joshua Marie Wilkinson) -- Wolf (with Stephen Ross) -- IV. Bent Studies -- The Pataquerical Imagination: Midrashic Antinomianism and the Promise of Bent Studies (a fantasy in 140 fits)
Pataquericals & Poetics
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Contents -- Preface -- I. L=A=N=G=U=A=G=E -- In Unum Pluribus: Toward a More Perfect Invention -- You Can't Evict an Idea: The Poetics of Occupy Wall Street (with Jane Malcolm) -- Sounding the Word -- This Picture Intentionally Left Blank -- Disfiguring Abstraction -- The Expanded Field of L=A=N=G=U=A=G=E -- Coda: Enough! -- II. Pitch -- Gertrude Stein: The Difference Is Spreading -- Louis Zukofsky -- Charles Olson: A Note on "The Kingfishers" -- Paul Celan's Folds and Veils -- Barbara Guest: Composing Herself -- Jackson Mac Low: Poetry as Art -- Robin Blaser's Holy Forest

Robert Creeley: Hero of the Local -- Larry Eigner's Endless Song -- John Ashbery: The Meandering Yangtze -- Hannah Weiner's Medium -- Haroldo de Campos Thou Art Translated (Knot) -- Jerome Rothenberg: Double Preface -- "And autumnstruck we would not hear the song": On Thomas McEvilley -- Leslie Scalapino's Rhythmic Intensities -- Maggie O'Sullivan: Colliderings -- Johanna Drucker: Figuring the Word -- III. Echopoetics -- Contemporary Literature (with Allison Cummings and Rocco Marinaccio) -- Musica Falsa: On Shadowtime (with Eric Denut) -- Foreign Literature Studies (with Nie Zhenzhao)

The Humanities at Work (with Yubraj Aryal) -- Bomb (with Jay Sanders) -- Chicago Weekly (with Daniel Benjamin) -- FSG Poetry: All That Glitters Is Not Costume Jewelry (with Alan Gilbert) -- Revista Canaria de Estudios Ingleses: Editing as Com(op)posing (with Manuel Brito) -- Études anglaises: Poetry's Clubfoot-Process, Faktura, Intensification (with Penelope Galey-Sacks) -- Evening Will Come: Off-Key (with Joshua Marie Wilkinson) -- Wolf (with Stephen Ross) -- IV. Bent Studies -- The Pataquerical Imagination: Midrashic Antinomianism and the Promise of Bent Studies (a fantasy in 140 fits)

Pataquericals & Poetics

Description based upon print version of record.

Reviews provided by Syndetics

Library Journal Review

A strangely compelling amalgam of postulations, propositions, interviews, and opinions, this collection from Bernstein (Donald T. Regan Professor of English and Comparative Literature, Univ. of -Pennsylvania) is as much a work of art as a work of criticism. The author is one of the founders of language poetry, an avant-garde movement that arose out of the modernist and imagist schools of the early 20th century, especially the poetry of William Carlos Williams. Reading these "essays" and interviews, one gets a powerful impression of the strengths and weaknesses of a form that emphasizes method over clarity and meaning. A strength is the dynamic juxtaposition of ideas and the feeling of freedom from even the rudiments of syntactical sense. A weakness might be found in the same: sometimes the writing is simply too unfettered and too confusing. The pieces cover topics ranging from the poetry of politics (e.g., Occupy Wall Street), the significance of technology, and the importance of writing and remembering (the Holocaust), but mainly the book is about poets and their poetry. Bernstein is interested in many of the less-celebrated modernists-Louis Zukofsky, Charles -Olson-as well as the postmodernists John Ashbery and Robert Creeley, among others. VERDICT Readers willing to leap with Bernstein over the chasm of absent syntax and intuition may find inspiration and insight in this fascinating and frustrating compilation. For academic collections and special interest groups.-Herman Sutter, St. Agnes Acad., Houston © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Riffing on Heraclitus and Charles Olson, poet and critic Charles Bernstein (English and comparative literature, Univ. of Pennsylvania) admits to recasting an old aphorism: "You can never step into the same poem twice." In The Pitch of Poetry--an unruly yet incisive collection of essays, interviews, and provocations--Bernstein wades back into the expanded field of language poetry, which has preoccupied him for years and which his own work has helped define. But Bernstein, a trickster figure par excellence, has little time for retrospection or self-congratulation. These "nonexpository, exploratory" pieces treat poets ranging from Gertrude Stein to Robert Creely and survey a variety of topics: the poetics of Occupy Wall Street, the allure of the audiobook, the hard paradox of Holocaust representation, and the evolving afterlife of L=A=N=G=U=A=G=E poetry. Compulsively readable, the essays assembled here skew toward the reader, though not exactly on account of their accessibility (a word that Bernstein distrusts). Instead, they serve as models of the "close listening," translation, and antiliteral thinking that avant-garde poetry requires. This compelling "pitch" will leave readers with a sense of poetry's ever-expanding range and the danger of remaining complacent in the face of its power. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals. --Jacob Risinger, The Ohio State University

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