By Emily Rosko, Anton Vander Zee
In the world of poetry and poetics during the last century, no notion has been extra alive and contentious than the assumption of shape, and no element of shape has extra emphatically backed this marked formal challenge than the road. yet what, precisely, is the road? Emily Rosko and Anton Vander Zee’s anthology supplies seventy unique solutions that lead us deeper into the area of poetry, but in addition a ways out into the area at huge: its humans, its politics, its ecology. The authors incorporated the following, rising and verified alike, write from more than a few views, by way of either aesthetics and id. jointly, they give a dynamic hybrid assortment that captures a extensive spectrum of poetic perform within the twenty-first century. Rosko and Vander Zee’s creation bargains a beneficiant evaluate of conversations in regards to the line from the Romantics ahead. We come to determine how the road could be an engine for beliefs of progress—political, moral, or another way. For a few poets, the road touches upon the main basic questions of information and life. greater than ever, the road is the unconventional opposed to which even exchange and rising poetic varieties that foreground the visible or the auditory, the web page or the reveal, will be uncommon and understood. From the beginning, a unique lesson emerges: traces don't shape that means completely of their brevity or their size, of their changing into or their brokenness; traces stay in and during the descriptions we supply them. certainly, the historical past of yankee poetry within the 20th century should be instructed by way of the compounding, and infrequently confounding, discussions of its traces. A damaged factor either displays upon and extends this heritage, charting a wealthy diffusion of conception and perform into the twenty-first century with the main diversified, wide-ranging and interesting set of essays up to now at the line in poetry, revealing how poems paintings and why poetry keeps to topic.
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Extra info for A Broken Thing: Poets on the Line
Though Hall’s anthology does not share the concentrated focus of A Broken Thing, it deserves special mention for its prescient defense of the kind of hybridity and ecumenism discussed above. Emerging on the heels of the Field and Epoch symposia, Claims for Poetry harbors none of the early conservatism that had tended to mark his career ever since he unfurled his landmark anthology New Poets of England and America (1957), which fell decidedly on the reactionary side of the unfolding anthology wars of the 60s and 70s.
A formally “contemporary” writing may propose the bogus immediacy of gesture as a codeless transparent revelation of the body, as if its markings were natural, neutral, to be taken for granted. Because it’s still claiming the autonomy of the text’s body, the author’s body — (or the silliness of imagining that these two, as if joined at the hip in some fancy celebration of freedom, can capture or map the social body). Attention to a freer play of line, as formal course of writerly conduct ornamentally preening in its autonomy, may distract us from what’s outside, from the regulatory limits & constraint of meaning as a horizon.
Thus, we hope that poets and critics inclined to balk at our title will take it not as a unilateral declaration of free-verse hegemony, but as an invitation to repair, to counter this force of brokenness. As though in 22 | Introduction answer to this hope, many of the contributors who reflect on the metrical line here do just that, as they prize integrity above brokenness, form above fragment. If nothing else, a common ground persists as the line exceeds its trappings as a partisan counter, becoming a poetic variable for all manner of extra-aesthetic concerns.