Distortion, Abstraction, and Originality in Contemporary American Poetry
Monster: Distortion, Abstraction, and Originality in Contemporary American Poetry argues that memorable and resonant poetry often distorts form, image, concept, and notions of truth and metaphor. Discussing how changes in electronic communication and artificial notions of landscape have impacted form and content in poetry, Monster redefines the idea of what is memorable and original through a broad range of poets including John Ashbery, Anne Carson, Thomas Sayers Ellis, Forrest Gander, Peter Gizzi, Jorie Graham, Robert Hass, Brenda Hillman, Laura Kasischke, W. S. Merwin, Srikanth Reddy, Donald Revell, Mary Ruefle, Arthur Sze, and James Tate.
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Thanks to the editors of the following magazines where the essays originally appeared:
“Origin, Presence, and Time in the Work of W. S. Merwin.” Until Everything Is Continuous Again: American Poets on the Work of W. S. Merwin, edited by Kevin Prufer & Jonathan Weinert. Chicago: Wordfarm Press, 2012.
Portions of the comment on the poetry of Angie Estes from Chapter II appeared in The Allure of Grammar: The Glamour of Angie Estes’ Poetry, University of Michigan Press, 2017.
Portions of “Poetry, Reality, & Place in a Placeless World of Global Communication” are excerpted from the essay “The Emergency of Poetry” © Mark Irwin 2016.
Portions of “Poetry, Reality, & Place in a Placeless World of Global Communication” was presented in Seattle at the 2014 AWP Conference during a panel that I chaired with the same title.
Portions of “Distortion and Disjunction in Contemporary American Poetry” was presented at the 2012 Ashland University Summer Writers Conference. ← x | xi →
Portions of “Poetry & Memorability” was presented in Denver at the 2010 AWP Conference during a panel with the same title.
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