A01=Charles Bernstein
abstract art
american literature
Author_Charles Bernstein
barbara guest
call and response
Category=DSC
disability
echopoetics
edgar allan poe
emily dickinson
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
essays
figurative nature
formative ideas
gertrude stein
holocaust representation
imagination
irreverent guide
john ashbery
language magazine
larry eigner
leslie scalapino
literary criticism
modernist poetics
occupy wall street
perversity
philosophy
poems
poetry collection
poets
ralph waldo emerson
reason
robert creeley
social issues
stigma
theory
william blake
Product details
- ISBN 9780226331928
- Weight: 624g
- Dimensions: 16 x 24mm
- Publication Date: 28 Mar 2016
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
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Praised in recent years as a “calculating, improvisatory, essential poet” by Daisy Fried in the New York Times, Charles Bernstein is a leading voice in American literary theory. Pitch of Poetry is his irreverent guide to modernist and contemporary poetics.
Subjects range across Holocaust representation, Occupy Wall Street, and the figurative nature of abstract art. Detailed overviews of formally inventive work include essays on—or “pitches” for—a set of key poets, from Gertrude Stein and Robert Creeley to John Ashbery, Barbara Guest, Larry Eigner, and Leslie Scalapino. Bernstein also reveals the formative ideas behind the magazine L=A=N=G=U=A=G=E. The final section, published here for the first time, is a sweeping work on the poetics of stigma, perversity, and disability that is rooted in the thinking of Edgar Allan Poe, Emily Dickinson, Ralph Waldo Emerson, and William Blake.
Pitch of Poetry makes an exhilarating case for what Bernstein calls echopoetics: a poetry of call and response, reason and imagination, disfiguration and refiguration.
Subjects range across Holocaust representation, Occupy Wall Street, and the figurative nature of abstract art. Detailed overviews of formally inventive work include essays on—or “pitches” for—a set of key poets, from Gertrude Stein and Robert Creeley to John Ashbery, Barbara Guest, Larry Eigner, and Leslie Scalapino. Bernstein also reveals the formative ideas behind the magazine L=A=N=G=U=A=G=E. The final section, published here for the first time, is a sweeping work on the poetics of stigma, perversity, and disability that is rooted in the thinking of Edgar Allan Poe, Emily Dickinson, Ralph Waldo Emerson, and William Blake.
Pitch of Poetry makes an exhilarating case for what Bernstein calls echopoetics: a poetry of call and response, reason and imagination, disfiguration and refiguration.
