By Johanna Drucker, Charles Bernstein, Marjorie Perloff, Susan Stewart, Susan Howe
Shut Listening brings jointly seventeen strikingly unique essays, particularly written for this quantity, at the poetry interpreting, the sound of poetry, and the visible functionality of poetry. whereas the functionality of poetry is as previous as poetry itself, severe awareness to trendy and postmodern poetry functionality has been unusually mild. This quantity, that includes paintings by way of critics and poets similar to Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe, is the 1st complete advent to the ways that twentieth-century poetry has been practiced as a functionality paintings. From the functionality varieties of person poets and kinds of poetry to the relation of sound to that means, from old and social methods to poetry readings to new imaginations of prosody, the entries collected the following examine a compelling diversity of issues for somebody attracted to poetry. Taken jointly, those essays inspire new varieties of "close listenings"--not in simple terms to the published textual content of poems but additionally to tapes, performances, and different expressions of the sounded and visualized observe. The time is true for this kind of quantity: with readings, spoken notice occasions, and the internet gaining an expanding viewers for poetry, shut Listening opens a few new avenues for the severe dialogue of the sound and function of poetry.
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Extra resources for Close listening: Poetry and the Performed Word
Letter on Sound fifty one 21. Jacques Lacan, The 4 primary ideas of Psycho-Analysis, ed. JacquesAlain Miller, tr. Alan Sheridan (New York: W. W. Norton,), pp. one hundred eighty, two hundred. 22. See dialogue of those phrases in Catherine Phillip's advent to Gerard Manley Hopkins, Oxford Authors sequence, ed. Catherine Phillips (Oxford: Oxford collage Press, 1986), p. xx. 23. J. Hillis Miller's essay, "The Univocal Chiming," in Hopkins: a suite of serious Essays, ed. Geoffrey H. Hartman (Englewood Cliffs, N. J. : Prentice-Hall, 1966), pp. 89-116, will pay specific awareness to the subjects of likeness and unlikeness linking the philosophy of Parmenides, the theology of Dun Scotus, and Hopkins's rhyming practices. He means that, as a Platonist or realist, Hopkins "proposes the life of inalterable kinds at certain durations, durations that have a mathematical relation delivering for a grand method of concord" (91). 24. The Letters of Gerard Manley Hopkins to Robert Bridges, ed. Claude Colleer Abbott (London: Oxford collage Press, 1955), p. 203. 25. As a clergyman, Hopkins used to be less than specific strictures during this regard. As he wrote to Bridges in 1884, "[A]ll that we Jesuits post (even anonymously) needs to be noticeable via censors and it is a barrier which i don't know the way something of mine on a wide scale might ever cross" (12 November postscript to St Martin's Day letter, Abbott, 200). In 1876 he had undergone a tough strategy of rejection because the spoil of the Deutschland was once first approved, after which rejected, by means of his good friend Henry Coleridge, the editor of the Jesuit magazine The Month. Coleridge had requested Hopkins to take out the accents and Hopkins complied, however the poem by no means seemed (Norman White, Hopkins: A Literary Biography [Oxford: Clarendon Press, 1992], pp. 25859). Hopkins's buddy Robert Bridges turned the archivist of his paintings; he despatched his paintings to Bridges usually, and Bridges's cautious realization to the manuscripts and transcripts of the poems enabled variants of Hopkins's paintings to seem posthumously. In a letter on September 1, 1885 (Abbott, 221), Hopkins wrote: "I shall presently have a few sonnets to ship you, 5 or extra. 4 [written above 'Three,' canceled] of those got here like inspirations unbidden and opposed to my will," yet he by no means despatched the poems to Bridges or the other correspondent. See additionally Paul Mariani, A statement at the whole Poems of Gerard Manley Hopkins (Ithaca: Cornell college Press, 1970), p. 210. Mariani indicates, following Jean-Georges Ritz, a logical order to the poems following "the classical descent and ascent of the Ignatian exercises": "To appear the stranger," "I wake and suppose the fell of dark," "No worst there's none," "Carrion Comfort," "Patience, difficult factor. " 26. Norman White's biography cites Hopkins's contemporaries as countering his photo of himself as overworked. Hopkins defined the poor complications he suffered in this time as "accompanied by way of the visible pictures of blocks which needed to be equipped together," it seems that an allegory of his fight with poetry (386).