Literary background more often than not locates the first circulate towards poetic innovation in twentieth-century modernism, an impulse performed opposed to a supposedly enervated “late-Romantic” poetry of the 19th century. the unique essays in energetic Romanticism problem this interpretation via tracing the basic continuities among Romanticism’s poetic and political radicalism and the experimental events in poetry from the late-nineteenth-century to the current day.
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Extra resources for Active Romanticism: The Radical Impulse in Nineteenth-Century and Contemporary Poetic Practice (Modern & Contemporary Poetics)
All of Corless-Smith’s books prove relevant to this discussion, but his third book, Nota, is much on my mind these days. In it, the poet writes: “There are those, including often the self, who you cannot abide—but those, especially the self, that you must” (Corless-Smith, n. ). Harsh wisdom. Wisdom that confronts and does not comfort. ” That is, the work of encounter, of self in enveloping collision with other and with self, is in its erotic trouble dizzying, maddening, and labyrinthine as often as (if not more often than) it is epiphanic.
24 Elizabeth Willis P. 101. l. laft but one, for ifle, read ifles. P. 132. l. laft but 6, for exoitic, read exotic. (viii) The end of the text is similarly complicated, sidetracked, all but evaded. In the last few pages of the poem, where a conventional pastoral might deliver a domesticated shepherdess, Darwin swerves into a further rewriting of mythic and literary figures. Potential threats appear—a leopard, a swan—but, as if undoing Leda’s fate, they are tamed, appearing among the protagonist’s ceremonial parade, guarding her steps, gliding along in lateral relation as its social and erotic sphere opens further.
It is the choral revelation, when to say I is to speak for All, and the report, as in the old tragedies, is to say what the world is, and what it is in the world that has been done. It is to hear the report, to hear the news. Not the news as Ezra Pound might have it. ” But the voices speaking in the wires, the humming wires, whose import is not merely the words they carry, but the wind that blows across those tense lines in the air, that epic wind, whose singing fills the gaps, whose song sings of the world’s ceaseless morning ceaselessly, the song that thrills tranquil absence into a humming presence, whose voice can be heard only against the curious fact of our own.
Active Romanticism: The Radical Impulse in Nineteenth-Century and Contemporary Poetic Practice (Modern & Contemporary Poetics)