Cover

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Half Title, Title Page, Copyright

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Contents

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pp. v-vi

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Acknowledgments

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pp. vii-x

One thing I have learned studying modern poetry and mass print is that texts do not come into being through one individual. They are the products of vast networks of writers, readers, and publishers who entertain initial thoughts, offer suggestions for revision, and help words take material form. ...

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Introduction: Modern Poetry, Cultures of Collecting, and the Mediation of Mass Print

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pp. 1-44

As if to mark the arrival of the new century, Lucy A. (Mixer) Britton of Brattleboro, Vermont, began in 1900 a scrapbook that she would actively keep for the next fifty years. The 130-page compilation, pasted into an old ten-by-thirteen-inch, leather-bound music book, records significant events in Lucy’s life and in the lives of her loved ones (births, marriages, anniversaries, deaths), ...

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1. As Good as Gold: Palgrave’s Golden Treasury, Poetic Value, and the Objective Anthology

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pp. 45-70

The folio manuscript of Francis Turner Palgrave’s The Golden Treasury of Songs and Lyrics, Second Series (1897), bound in red leather and tooled with gold lettering, has the external trappings of a finely made édition de luxe. Inside, however—as if to exemplify the old cliché about books and their covers—the volume more closely resembles a scrapbook or an object of extra-illustration. ...

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2. Making Modern Poetry: Format, Form, and Modern Poetic Genre

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pp. 71-104

A slender volume, this little magazine. Small enough to put in a jacket pocket and pull out on a lunchtime break or on the long train ride home from work. In its spatial dimensions looking more like a “well-printed book,” as one advertising circular would later put it, than like the popular magazines of the day.1 ...

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3. Scrapping Modernism: Marianne Moore and the Making of the Modern Collage Poem

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pp. 105-140

In “A Crystal for the Metaphysical,” her review of Marianne Moore’s 1966 poetry collection Tell Me, Tell Me: Granite, Steel and Other Topics, the poet Muriel Rukeyser meditates on the strategies of what has generally been called poetic collage: ...

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4. Selecting Modernism: Eliot, Faber, and Poetic Reproduction

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pp. 141-167

The House of Faber, standing at 24 Russell Square, is an understated Georgian structure nuzzling up to the greenery of Russell Square, flanked on one side by University College, London, and on the other by the imposing British Museum. Until recently, it had been the long-standing home to the publishing firm of Faber and Gwyer, and then Faber and Faber.1 ...

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5. Instituting Modernism: The Rise of the Modern American Poetry Archive

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pp. 168-199

A letter from Allen Tate, the second Consultant in Poetry at the Library of Congress, to Archibald MacLeish, the librarian of Congress—a Report of a Dada Conversation in the Division of Manuscript on September 29, 1943 at 10:30 AM: ...

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Coda: Remaking Poetic Modernism after a Culture of Mass Print

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pp. 200-206

It is perhaps fitting that a book focused on the role of mass print in the making of poetic modernism concludes with a few words on the importance of both mass print and modern poetry in our current digital age. I do not mean to eulogize a print form that is not yet dead (although its demise has been predicted for some years now), ...

Notes

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pp. 207-244

Bibliography

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pp. 245-262

Index

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pp. 263-272