In this Book

summary
In Modernism the Morning After, Bob Perelman scrutinizes a number of long-held modernist dogmas in order to articulate a more capacious model for thinking about modernism, past, present, and future.

Modernism the Morning After is a superb, lively, engaging series of essays and talks, dating from 1995 to 2016, by the eminent scholar, critic, and poet Bob Perelman. Throughout his career, Perelman has focused on the persistence of modernist ambition in poetry, with all of its admirable articulations and tragicomic short-circuits. Poetry, it turns out, is not simply “news that stays news,” as Ezra Pound postulated. Instead, as Perelman demonstrates, poetry often gropes toward whatever news can be found in the broader contexts of public speech—the cultural commons, the almost-real or much-too-real language of people and our hyperactive media.
 
Working in a variety of modes from the poetic to the dramatic to the conversational, and ranging across an expansive historical register from Dickinson, Whitman, and Dunbar in the nineteenth century to Kenneth Goldsmith and Stephen Colbert in the twenty-first, Perelman’s readings are unfailingly illuminating and, in many cases, his witty expositions take us strikingly close to the original intent of the text concerned.
 
Perelman also places intermittent, yet artful, pressure on some basic questions about the very nature of poetry. What does the transcription of poems tell us about them? How do hoaxes like the Ern Malley affair compel us to reconsider fundamental assumptions about what constitutes “authentic” poetry? How does the bathetic register relate to tones and idiom in recent poetic production? In Modernism the Morning After, Perelman writes as a poet, teacher, and critic, addressing a broad audience of readers and writers without choosing between them, inviting all to consider along with him modernism’s future through a dynamic consideration of its past.

Table of Contents

  1. Cover
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  1. Half Title, Series Page, Title Page, Copyright, Dedication
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  1. Contents
  2. pp. vii-viii
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  1. Preface
  2. pp. ix-x
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  1. Acknowledgments
  2. pp. xi-xii
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  1. Abbreviations
  2. pp. xiii-xiv
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  1. 1. Canonicity
  2. pp. 1-5
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  1. 2. Time Management: Marianne Moore, Ted Berrigan, and the Genuine
  2. pp. 6-23
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  1. 3. Copying Whitman
  2. pp. 24-31
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  1. 4. Delivering Difficult News
  2. pp. 32-46
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  1. 5. Homage to Pound’s “Propertius”
  2. pp. 47-52
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  1. 6. Rachel Blau DuPlessis’s Drafts and the Epic Moment
  2. pp. 53-68
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  1. 7. Familiar Williams
  2. pp. 69-78
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  1. 8. Stein as Explanation
  2. pp. 79-85
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  1. 9. Taste Test
  2. pp. 86-90
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  1. 10. The Pound Cage
  2. pp. 91-105
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  1. 11. In One Language and Out the Other: Harryette Mullen and Ezra Pound
  2. pp. 106-119
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  1. 12. A Span for Burton Hatlen: From Pound to Flarf
  2. pp. 120-124
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  1. 13. Bathos and Mind Reading
  2. pp. 125-138
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  1. 14. The Poetry Hoax and Poetic News
  2. pp. 139-155
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  1. 15. A Williams Sound-Script: Listening to “The Sea-Elephant”
  2. pp. 156-170
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  1. 16. Alice Notley and Poetic Inheritance
  2. pp. 171-183
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  1. 17. Speech Effects: Talk and Transcription
  2. pp. 184-199
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  1. 18. Zukofsky at 100
  2. pp. 200-209
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  1. 19. On “The Jewish Question”
  2. pp. 210-219
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  1. 20. Dickinson – So –
  2. pp. 220-230
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  1. 21. Punctuation-Watching for Beginners
  2. pp. 231-242
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  1. Notes
  2. pp. 243-252
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  1. Works Cited
  2. pp. 253-262
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  1. Index
  2. pp. 263-270
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Additional Information

ISBN
9780817391096
Related ISBN
9780817358891
MARC Record
OCLC
978569697
Pages
286
Launched on MUSE
2017-03-28
Language
English
Open Access
No
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