DEar Staff
Do send me a review copy of CONTEMPORARY POETICS. I'll review it for the
DENVER QUARTERLY. Thank you.
Sincerely
Harriet Zinnes
25 West 54 Street
New York, NY 10019
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----- Original Message -----
From: "Prague Literary Review" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, January 27, 2006 10:48 AM
Subject: Contemporary Poetics
> Announcing the forthcoming release of
>
> CONTEMPORARY POETICS
>
> edited by Louis Armand
> November 2006
> Northwestern University Press
> 6 x 9, 384 pp.
> Cloth Text
> ISBN 0-8101-2359-2 / $ 59.95
> http://nupress.northwestern.edu/title.cfm?ISBN=0-8101-2359-2
>
> With contributions by:
> Augusto de Campos
> Marjorie Perloff
> Donald F. Theall
> Gregory L. Ulmer
> McKenzie Wark
> Alan Sondheim
> Darren Tofts
> Louis Armand
> Steve McCaffery
> Charles Bernstein
> Ricardo Nirenberg
> Simon Critchley
> DJ Huppatz
> Bob Perelman
> Keston Sutherland
> Nicole Tomlinson
> Julian Savage
> Michel Delville
> Andrew Norris
> Allen Fisher
> Steve McCaffery
> J. Hillis Miller
>
>
> Exploring the boundaries of one of the most contested fields of literary
study--a field that in fact shares territory with philology, aesthetics,
cultural theory, philosophy, and even cybernetics--this volume gathers a
body of critical writings that, taken together, broadly delineate a possible
poetics of the contemporary. In these essays, the most interesting and
distinguished theorists in the field renegotiate the contours of what might
constitute "contemporary poetics," ranging from the historical advent of
concrete poetry to the current technopoetics of cyberspace. Concerned with a
poetics that extends beyond our own time, as a mere marker of present-day
literary activity, their work addresses the limits of a writing
"practice"--beginning with St�phane Mallarm� in the late
nineteenth century--that engages concretely with what it means to be
contemporary.
>
> Charles Bernstein's Swiftian satire of generative poetics and the
textual apparatus, together with Marjorie Perloff's critical-historical
treatment of "writing after" Bernstein and other proponents of language
poetry, provides an itinerary of contemporary poetics in terms of both
theory and practice. The other essays consider "precursors," recognizable
figures within the histories or prehistories of contemporary poetics, from
Kafka and Joyce to Wallace Stevens and Kathy Acker; "conjunctions," in which
more strictly theoretical and poetical texts enact a concerted engagement
with rhetoric, prosody, and the vicissitudes of "intelligibility";
"cursors," which points to the open possibilities of invention, from Augusto
de Campos's "concrete poetics" to the "codework" of Alan Sondheim; and
"transpositions," defining the limits of poetic invention by way of
technology.
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