Sound and sense an introduction to poetry pdf


Sound and sense an introduction to poetry pdf Desperationis 3, December 2012, Ed. Crux Desperationis 4, September 2013, Ed. Poetry expresses the emotional truth of the self.

A craft honed by especially sensitive individuals, it puts metaphor and image in the service of song. Or at least that’s the story we’ve inherited from Romanticism, handed down for over 200 years in a caricatured and mummified ethos – and as if it still made sense after two centuries of radical social change. But what would a non-expressive poetry look like?

A poetry of intellect rather than emotion? One in which the substitutions at the heart of metaphor and image were replaced by the direct presentation of language itself, with “spontaneous overflow” supplanted by meticulous procedure and exhaustively logical process? In which the self-regard of the poet’s ego were turned back onto the self-reflexive language of the poem itself?

The works presented here provide one set of answers to those questions. Moreover, from the modernist experiments of Gertrude Stein and Samuel Beckett to the neodadaism of Fluxus, they hint at the range of alternatives and challenges that have been presented to the Romantic lineage of expressive poetry.

This collection intends to both recall those traditions and complicate their multiple and intersecting histories. In the social context of its publication, for instance, Alan Davies’ a an av es is part of the published record of Language Poetry. The work is a multiple lipogram known as the “prisoner’s constraint,” in which only letters without ascenders or descenders are permitted – perhaps to be able to write in closely spaced lines and conserve the prisoner’s ration of paper, or, more fancifully, to be free of the bars even of letters. 99: The New Meaning, as well as the syllabic rearticulations of Kenneth Goldsmith’s No.

At the same time, the writerly pleasures of 38 are made legible by the radical abstractions of sound poetry and the reduced referentiality of the twentieth century’s most extreme avant-garde writing. It takes the form of a “charade,” in which alphabetic characters are respaced but not reordered, effecting what the Russian Futurists called sdvig: the shift of verbal mass within a text.

That swerve, in short, bends the rules of the game but continues to play. Indeed, many of these works embody the misapplied rigor and alternative logics of Jarry’s ‘pataphysics: “the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments. Jarry’s science investigates “the probabilities and necessities of a certain situation,” to borrow from Aristotle’s definition of poetry, and it accordingly studies particulars, singularities, and exceptions with an absurd necessity, projecting those moments through their logical extremes. Jarryesque bicycle into the brack of an Amsterdam canal.