What is the place of individual genius in a global world of hyper-information-- a world in which, as Walter Benjamin predicted more than seventy years ago, everyone is potentially an author? For poets in such a climate, "originality" begins to take a back seat to what can be done with other people's words--framing, citing, recycling, and otherwise ...Read MoreWhat is the place of individual genius in a global world of hyper-information-- a world in which, as Walter Benjamin predicted more than seventy years ago, everyone is potentially an author? For poets in such a climate, "originality" begins to take a back seat to what can be done with other people's words--framing, citing, recycling, and otherwise mediating available words and sentences, and sometimes entire texts. Marjorie Perloff here explores this intriguing development in contemporary poetry: the embrace of "unoriginal" writing. Paradoxically, she argues, such citational and often constraint-based poetry is more accessible and, in a sense, "personal" than was the hermetic poetry of the 1980s and 90s. Perloff traces this poetics of "unoriginal genius" from its paradigmatic work, Benjamin's encyclopedic Arcades Project, a book largely made up of citations. She discusses the processes of choice, framing, and reconfiguration in the work of Brazilian Concretism and Oulipo, both movements now understood as precursors of such hybrid citational texts as Charles Bernstein's opera libretto Shadowtime and Susan Howe's documentary lyric sequence The Midnight. Perloff also finds that the new syncretism extends to language: for example, to the French-Norwegian Caroline Bergvall writing in English and the Japanese Yoko Tawada, in German. Unoriginal Genius concludes with a discussion of Kenneth Goldsmith's conceptualist book Traffic--a seemingly "pure'" radio transcript of one holiday weekend's worth of traffic reports. In these instances and many others, Perloff shows us "poetry by other means" of great ingenuity, wit, and complexity.Read Less
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Very Good in Good jacket. Clean and bright; no owners' marks; binding square and tight; hard cover has taps and wrinkles at the bottom free corners, otherwise clean and well-kept; jacket has a short, closed tear at the bottom left rear with an accompanying crease and some rubbing at spine ends and corners, otherwise excellent. Jacket is now protected in a clear sleeve.
New. 0226660621 University Of Chicago Press; 2012. Trade paperback. Later printing. New and in-stock. 201pp., 8vo[octavo or aprx 6 x 9] We pack securely and ship daily w/delivery confirmation on every book. The picture on the listing page is of the actual book for sale. Additional Scan(s) are available for any item, please inquire.
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