Postmodern american poetry a norton anthology

The Norton Anthologies. Publisher: W. Academy of American Poets Educator Newsletter. Teach This Poem. Follow Us. Find Poets. Poetry Near You. Jobs for Poets. If you own this book, you can mail it to our address below. Not in Library. Want to Read. Buy this book Better World Books When you buy books using these links the Internet Archive may earn a small commission.

Share this book Facebook. Last edited by g m javed arif. September 7, History. Cyberpoetry should seek noise rather than silence, interference and discontinuity rather than a smooth, unimpeded progress. The anthology--because of course it must end somewhere--shortchanges some younger poets, especially females, those born in the late seventies and early eighties and now beginning to do really interesting work.

Many such exciting young female poets come to mind. Nonetheless, contrast this with the traditionalist weight of Dove's anthology, among whose concluding poets are Sandra Cisneros, Louise Erdrich, Elizabeth Alexander, and Sherman Alexie. Of course many more could have been included, but these seem to me to capture the essence of the dialectic. Hoover is right to begin with Olson's manifesto on projective verse from , almost a founding document for much that has followed.

As Olson puts it:. From the moment the projective purpose of the act of verse is recognized, the content does--it will--change. If the beginning and the end is breath, voice in its largest sense, then the material of verse shifts.

It has to. It starts with the composer. The dimension of his line itself changes, not to speak of the change in his conceiving, of the matter he will turn to, of the scale in which he imagines that matter's use. Olson is arguing for a different kinetics of the poem, a different physics, a different field, that which distinguishes postmodern poetry from the modernism of Ezra Pound, the other great founder half a century prior to Olson.

The debate since Olson has been all about what this kinetics, this field of energy, might consist of, how it might shape the postmodern poem. It's natural inspiration of the moment that keeps it moving, disparate thinks put down together, shorthand notations of visual imagery, juxtapositions of hydrogen juke-box--abstract haikus sustain the mystery and put iron poetry back into the line: the last line of "Sunflower Sutra" is the extreme, one stream of single word associations, summing up.

Mind is shapely. Art is shapely. One of the most interesting dialectics amongst the manifestos is that between O'Hara's "Personism: A Manifesto"--the most delightful manifesto of our era--and the response by K.

Silem Mohammad called "Excessivism. Personism, a movement which I recently founded and which nobody yet knows about, interests me a great deal, being so totally opposed to this kind of abstract removal that it is verging on a true abstraction for the first time, really, in the history of poetry. Personism has nothing to do with philosophy, it's all art.

It does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person other than the poet himself , thus evoking overtones of love without destroying love's life-giving vulgarity, and sustaining the poet's feelings towards the poem while preventing love from distracting him into feeling about the person.

This is all part of a movement, which I have seen through the multitudes of books I receive from publishers, to capture a picture of Jesus that is so totally opposed to computers in chess that it is verging on technofeudalism--one of my pet hates. Georgetown is to Catholic as Pepsi is to Wallace Stevens. It has nothing to do with philosophy. It's just a style of music like zydeco. Can you help donate a copy? When you buy books using these links the Internet Archive may earn a small commission.

Open Library is a project of the Internet Archive , a c 3 non-profit. Postmodern American Poetry provides a deep and wide selection poems by poets-of the major poets and movements of the late twentieth century. Included, too, is the rich array of poetry written since language and performance poetry, the work of African American, Hispanic, Asian American, gay and lesbian, and women experimentalists.

In addition, a final section of poetics-with writings by Frank O'Hara, Denise Levertov, Jerome Rothenberg, Amiri Baraka, and Charles Bernstein, among others-provides valuable contexts for reading the poems.