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Wittgenstein's Ladder
Austere and uncompromising, the philosopher Ludwig Wittgenstein had no use for the avant-garde art works of his own time. He refused to formulate an aesthetic, declaring that one can no more define the "beautiful" than determine "what sort of coffee tastes good". And yet many of the writers of our time have understood, as academic theorists generally have not, that Wittgenstein is "their" philosopher. How do we resolve this paradox? Marjorie Perloff, our foremost critic of twentieth-century poetry, argues that Wittgenstein has provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Wittgenstein's ladder is an apt figure for this r...
Unoriginal Genius
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 1980's and 90's. --
Radical Artifice
Explores the intricate relationships of postmodern poetics to the culture of network television, advertising layout, and the computer. Perloff argues that poetry today, like the visual arts and theater, is always "contaminated" by the language of mass media. Among the many poets Perloff discusses are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, Steve McCaffery, and preeminently, John Cage--Publisher.
The Futurist Moment
This volume examines the flourishing of Futurist aesthetics in the European art and literature of the early twentieth century. Futurism was an artistic and social movement that was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature. This work looks at the prose, visual art, poetry, and the manifestos of Futurists from Russia to Italy. The author reveals the Moment's impulses and operations, tracing its echoes through the years to the work of "postmodern" figures like Roland Barthes. This updated edition reexamines the Futurist Moment in the light of a new century, in which Futurist aesthetics seem to have steadily more to say to the present
Frank O'Hara
Previously known as an art-world figure, but now regarded as an important poet, Frank O'Hara is examined in this study. It traces the poet's "French connection" and the influence of the visual arts on his work. This edition includes a new introduction with a reconsideration of O'Hara's lyric.
The Poetics of Indeterminacy
She traces this tradition from its early "French connection" in the poetry of Rimbaud and Apollinaire as well as in Cubist, Dada, and early Surrealist painting; through its various manifestations in the work of Gertrude Stein, William Carlos Williams, and Ezra Pound; to such postmodern "landscapes without depth" as the French/English language constructions of Samuel Beckett, the elusive dreamscapes of John Ashbery, and the performance works of David Antin and John Cage.".
21st-Century Modernism
This revisionist narrative of poetic change in the twentieth century challenges the accepted notions of what poetry is and can be in the new century and makes the case for the seminal place of poetry in contemporary culture.
Edge of Irony
"An earlier version of chapter 1 appeared as "Avant-Garde in a Different Key: Karl Kraus's The Last Days of Mankind," Critical Inquiry 40, no. 2 (Winter 2014): 311-38."
Infrathin
"The "infrathin" was Marcel Duchamp's name for the thinnest shade of difference: that between, say, the report of a gunshot and the appearance of the bullet hole on its target, or between two objects in a series made from the same mold. In this book, the esteemed literary critic Marjorie Perloff shows how such differences occur at the level of words and argues that it is this infrathin space, this micropoetics of language, that separates poetry from prose. Perloff treats the relationship between Duchamp and Gertrude Stein; ranges over Concrete, Objectivist, and Black Mountain poetry; and gives stunning readings of poets from Eliot, Yeats, and Pound to Samuel Beckett, John Ashbery, and Rae Armantrout. Poetry, Perloff shows us, exists in the play of the infrathin, and it is the poet's role to create unexpected relationships-verbal, visual, and sonic-from the finest nuances of language"--
Poetry on & Off the Page
The fourteen essays that make up this collection have as their common theme a reconsideration of the role historical and cultural change has played in the evolution of twentieth-century poetry and poetics. Committed to the notion that, in John Ashbery's words, "You can't say it that way anymore," Poetry On & Off the Page describes the formations and transformations of literary and artistic discourses, and traces these discourses as they have evolved in their dialogue with history, culture, and society. The volume is testimony to the important role that contemporary artistic practice will continue to play as we move into the twenty-first century.
