Rachel Blau DuPlessis
In the 12 essays and introduction that constitute Blue Studios, DuPlessis continues that task, examining the work of experimental poets and the innovative forms. Rachel Blau DuPlessis.
This book creates a blue space for thinking about the terrain to traverse while watching a horizon for change. Blue Studios proposes cultural work that poetry. It may constitutes up to Good.
Blue Studios : Poetry and Its Cultural Work - kompmisdanira.gq
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Tuscaloosa: University of Alabama Press,. Subtlety, intricacy, and. In the School of DuPlessian Midrash every seam and suture is exposed as a subject of instigation cum investigation.
By this author
After nearly forty years of teaching, most of it at Temple University, DuPlessis retired in In the labyrinthine spirit of Drafts, the essays gathered here provide interweaving, overlapping points of entry into the poems. Vectors, swarming. There is no school of RBD as such, either poetical or scholarly, yet many of us have studied there all the same.
As Eric Keenaghan attests in his provocative and deeply personal engagement with DuPlessis as mentor and poet, her legacy has less to do with legacy as such as with modes of reading and transmitting. His essay is in part a memoir about coming of age as a scholar and what it means, specifically, to be a gay scholar, committed to recovering repressed or ignored traditions. Libbie Rifkin takes up the complications of the Oppen-DuPlessis nexus, exploring how gender, the New Left, Jewishness, poetics, and two wars — the Vietnam and the Iraq — inform their epistolary and poetic relationship.
Blue Studios: Poetry And Its Cultural Work: ZIP
This piece is excerpted from a longer essay in Contemporary Literature 51, no. Paul Jaussen makes an eloquent intervention by reading Drafts as a life-poem whose production coincides with the emergence of the Internet and the whole raft of new media.
For Jaussen, Drafts embodies this dramatic shift in communication technologies, negotiating its own design in often precarious ways by inviting contingency to play a major authorial role. The materiality of the caesura in Drafts is at issue in C.
Martin sees caesura not as erasure but as a practice of disfigurement that makes room in the poem for refuse and debris. If redaction acts as a kind of prosody, then the latest volume of Drafts — The Collage Poems — signal an exit from language into another medium.
New from Jeanne Heuving in Our Modern and Contemporary Poetics Series
This procedure resists the culture of instantaneity by grounding the poem within the moment of the event, where the historical horizon is made visible. For Thomas Devaney , Drafts poses two significant problems for its readers: one practical, the other ethical. Practically, how does one begin to enter such a capacious poem?
The larger struggle has to do with how the ethical scope of the project locates itself between poetry and social critique, including the crucial opening of modernism to feminism.
In particular, she identifies a growing darkness to the work, the concomitant growing influence of the Objectivist poets, and a growing tension and richness between complex and simple uses of language in conjunction with each other. My own contribution positions Drafts within the secular Judaic mode of inquiry pioneered by Walter Benjamin.
It asks whether midrashic poetics, as practiced by DuPlessis, can be regarded as occupying the role of advocacy represented by the enigmatic angel of history, a figure who does more than merely bear witness to the storm of progress, but actively constructs new alignments of meaning out the scattered wreckage of the debris field.