By Robert Sheppard (auth.)
This examine engages the lifetime of shape in modern cutting edge poetries via either an creation to the most recent theories and shut readings of top North American and British cutting edge poets. The serious procedure derives from Robert Sheppard’s axiomatic rivalry that poetry is the research of complicated modern realities throughout the skill (meanings) of shape. interpreting the poetry of Rosmarie Waldrop, Caroline Bergval, Sean Bonney, Barry MacSweeney, Veronica Forrest-Thomson, Kenneth Goldsmith, Allen Fisher, and Geraldine Monk, Sheppard argues that their kinds are an issue of authorial layout and readerly engagement.
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Extra resources for The Meaning of Form in Contemporary Innovative Poetry
See endnote 9. 18. This ‘endless chain of responses’ is ‘alarming’, Attridge suggests, only ‘if we conceive of literature as possessing an extractable content which can finally be isolated’, if we see paraphrase as permanent substance rather than as phantom (Attridge 2004a: 93). One’s sense of alarm abates when one realizes that this endless chain is actually the history of criticism, whatever the critical apparatus and positions. W. 2002. Aesthetic Theory. Eds. Tiedemann, Trans. Hullot-Kentor.
SHEPPARD ing a great deal on fictional forms—although he admits with an allusive nod to Wallace Stevens that all ‘literature is fiction in the fullest, most powerful sense when it sets out to discover real knowledge along imaginary roads’ (Wood 2005: 190)—he does pay attention to poetry (and to ‘small’ as well as great art), but his conjecture that ‘if literature knows something, or knows of something, then we shall need at some stage to ask what literary forms know or know of’ suggests that the artwork is concealing its knowledge rather than per-forming it for us in the activity of reading (Wood 2005: 135–136).
Mark 2001: 6) Perhaps all that is required is an added dotted line on her diagram between the image-complex on one side, and the thematic synthesis and suspended naturalization on the other, to suggest the readerly connectivity that Mark sees as necessary; Forrest-Thomson’s theory fails to take the role of the reader into account. The scale of irrelevance—a misnomer in the final analysis—must stop operating as a dustbin of non-functional devices and return to become the treasure-hoard of formal artifice that Forrest-Thomson eulogizes elsewhere, to recover if not relevance, then contributory function, even if not strictly ‘thematic’.