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By Thomas Fink, Judith Halden-Sullivan, Charles Bernstein, Carrie Conners, Kristen Gallagher, Paolo Javier, Burt Kimmelman, Hank Lazer, Jessica Lewis Luck, Stephen Paul Miller, Sheila E. Murphy, Elizabeth Robinson, Christopher Schmidt, Eileen R. Tabios

The daring essays that make up Reading the problems offer case reviews in and methods for studying cutting edge poetry.

Definitions of what constitutes leading edge poetry are innumerable and are provided from each region. a few critics and poets argue that leading edge poetry matters loose organization (John Ashbery), others that experimental poetry is a “re-staging” of language (Bruce Andrews) or a syntactic and cognitive holiday with the prior (Ron Silliman and Lyn Hejinian). The tenets of recent poetry abound.

But what of the hot interpreting that such poetry calls for? Essays in Reading the Difficulties ask what sorts of stances permit readers to engage with verse that intentionally eliminates a few of the cozy cues to comprehension—poetry that's often nonnarrative, nonrepresentational, and indeterminate in topic, subject matter, or message.

Some essays in Thomas Fink and Judith Halden-Sullivan’s assortment deal with problems with reader reception and how particular stances towards analyzing aid or supplement the classy of every poet. Others recommend how we will be open readers, how leading edge poetic texts switch the very nature of reader and analyzing, and the way severe language can catch this metamorphosis. a few participants think of how the reader adjustments leading edge poetry, what language finds approximately this interplay, which new examining recommendations spread for the audiences of cutting edge verse, and what questions readers may still ask of leading edge verse and of occasions and reviews that we would carry to examining it.

Charles Bernstein / Carrie Conners / Thomas Fink /
Kristen Gallagher / Judith Halden-Sullivan / Paolo Javier /
Burt Kimmelman / Hank Lazer / Jessica Lewis good fortune /
Stephen Paul Miller / Sheila E. Murphy / Elizabeth Robinson /
Christopher Schmidt / Eileen R. Tabios

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Additional info for Reading the Difficulties : Dialogues with Contemporary American Innovative Poetry

Sample text

If there is a difficulty, it lies with the reader’s assumptions (of­t en unconscious or unarticulated) about what the nature of the reading experience should be. “Difficulty” (frequently accompanied by the assertion of “I don’t like it”) masks a discomfort with reading a kind of writing that may be unfamiliar. The rejection of the new and the unfamiliar constitutes a form of xenophobia—fear of otherness. At its heart, the problem I’m describing is one of contemporaneity. As David Antin is fond of pointing out, there is nothing so difficult to locate as the (artistic) present.

The great pleasure (and for some, anxiety) of the new poem is that it defamiliarizes the process of reading itself. It asks us to think again about how to read relatively simple words on the page. It asks us to think again about something—reading, and, by implication, our residence in language—that we think we already know how to do. The “difficulty” of the poem awakens us again to the depth and variety of our uniquely human relationship to/in/ with language—what Heidegger called the house of being.

The multi-­textured nature of the text forces readers to find more than one dimension in the “history” the book represents, which forces readers to consider “what kinds of readers [the book can] enable or construct” (143). The conflicting voicings, histories, images and cultures that co-­exist in Dictee do, in a sense, compete with each other for the reader’s attention and precedence. Factors such as its “alliances with nonstandard speakers of languages” will unearth many assumptions about reading as mastery even as “it points to the importance of forms of reading that are not mastery-­dependent” (144).

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