By G. Matthew Jenkins
Due to the fact that not less than the time of Plato’s Republic, the connection among poetry and ethics has been . in the course of the prism of what has been known as the “new” moral feedback, encouraged by means of the paintings of Emmanuel Levinas, G. Matthew Jenkins considers the works of Objectivists, Black Mountain poets, and Language poets in gentle in their complete capability to reshape this historic dating. American experimental poetry is generally learn in both political or ethical phrases. Poetic legal responsibility, against this, considers the poems of Louis Zukofsky, Charles Reznikoff, George Oppen, Edward Dorn, Robert Duncan, Susan Howe, and Lyn Hejinian when it comes to the philosophical concept of moral legal responsibility to the opposite in language. Jenkins's old trajectory allows him to think about the entire breadth of moral issues that experience pushed theoretical debate because the finish of worldwide struggle II. This unique strategy establishes a moral lineage within the works of twentieth-century experimental poets, making a approach to reconcile the breach among poetry and the problem of ethics in literature at huge. With implications for a number of social concerns, together with ethnicity and immigration, financial inequities, and human rights, Jenkins's creative reconciliation of poetry and ethics will supply stimulating examining for lecturers and students of yank literature in addition to advocates and devotees of poetry more often than not. Poetic legal responsibility marshals plentiful facts that poetry issues and keeps to talk to the real problems with our day.
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Additional resources for Poetic Obligation: Ethics in Experimental American Poetry after 1945
This poem not only describes the joys of sex but rather the joy of language, which has its own pleasures not found in the logical description of thought. Thought must be suspended for enjoyment or, as Oppen calls it 30 pa rt 1 in Of Being Numerous, “the pure joy / Of the mineral fact” (New Collected 164). In other words, desire for another displaces and disturbs totality. In this 1930s manifestation, the concept of desire works against totality at the same time it seeks it, and this is the crack, so to speak, through which alterity seeps.
Thus, language, no matter what is said, is always already the call to be responsible to the Other. In fact, my responsibility gives occasion to make a said (a representation, a poem, a story, a response): 16 introduction But the relationship with a past [le dire] that is on the hither side of every present and every re-presentable, for not belonging to the order of presence, is included in the extraordinary and everyday event of my responsibility for the faults or the misfortune of others, in my responsibility that answers for the freedom of another, in the astonishing human fraternity in which fraternity, conceived with Cain’s sober coldness, would not by itself explain the responsibility between separated beings it calls for.
In “Of Being Numerous,” Oppen uses the phrase “the shipwreck of the singular” at the same time he writes of “being numerous” to capture the distance we often feel even when in proximity to others. In Oppen’s verse, I am neither opposed to nor part of the crowd. Refusing the dialectical, Levinas’s alterity, like Oppen’s notion of singular-numerous humanity, thwarts the ultimate intention of Western philosophy to reabsorb the Other “into my own identity as a thinker and possessor” (Totality 33). As opposed to the disabled or oppressed Other of some dialectical theory, Levinas’s and Oppen’s decentering alterity places the Other completely beyond my power, or any power for that matter.