Marjorie Perloff

What is the place of individual genius in a global world of hyper-information— a world in which, as Walter Benjamin predicted more than seventy years ago, everyone is potentially an author? For poets in such a climate, "originality" begins to take a back seat to what can be done with other people’s words—framing, citing, recycling, and otherwise mediating available words and sentences, and sometimes entire texts. 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 1980s and 90s. Perloff traces this poetics of "unoriginal genius" from its paradigmatic work, Benjamin’s encyclopedic Arcades Project, a book largely made up of citations. She discusses the processes of choice, framing, and reconfiguration in the work of Brazilian Concretism and Oulipo, both movements now understood as precursors of such hybrid citational texts as Charles Bernstein’s opera libretto Shadowtime and Susan Howe’s documentary lyric sequence The Midnight. Perloff also finds that the new syncretism extends to language: for example, to the French-Norwegian Caroline Bergvall writing in English and the Japanese Yoko Tawada, in German. Unoriginal Genius concludes with a discussion of Kenneth Goldsmith’s conceptualist book Traffic—a seemingly "pure’" radio transcript of one holiday weekend’s worth of traffic reports. In these instances and many others, Perloff shows us "poetry by other means" of great ingenuity, wit, and complexity.

Poetry by Other Means in the New Century

Unoriginal Genius

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.".

Rimbaud to Cage

The Poetics of Indeterminacy

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 radical aesthetic, and not just in its ordinariness as an object. The movement "up" this ladder can never be more than what Wittgenstein's contemporary, Gertrude Stein, called "Beginning again and again". Wittgenstein shows us, too, that we cannot climb the same ladder twice: the use of language, the context in which words and sentences appear, defines their meaning, which changes with every repetition. Wittgenstein's aesthetic brooks no theory, no essentialism, no metalanguage - only a practice, a mode of operation, fragmentary and elliptical.

Poetic Language and the Strangeness of the Ordinary

Wittgenstein's Ladder

Among the brilliant writers and thinkers who emerged from the multicultural and polyglot world of the Austro-Hungarian Empire were Sigmund Freud, Ludwig Wittgenstein, Franz Kafka, and Paul Celan. For them, the trauma of the First World War included the sudden dissolution of the geographical entity into which they were born. Austria, the small, fragile republic that emerged from the Empire in 1918, became in Karl Kraus s words the research laboratory for world destruction. In this major reconsideration of European modernism, Marjorie Perloff identifies and explores the aesthetic world that emerged from the rubble of WWI Vienna and other former Hapsburg territoriesan Austro-Modernist ethos that strangely anticipates the darkness and cynicism of our own disillusioned twenty-first-century culture. Perloff introduces works in a variety of genresdrama (Kraus s Last Days of Mankind ), the novel (Roth s The Radetzky March ), the essay (central to Robert Musil s The Man without Qualities ), the memoir (Elias Canetti s The Tongue Set Free ), the lyric poem (Celan s love poetry), and the philosophical notebook (Wittgenstein)so as to give even non-specialists a sense of the complex and troubled literary scene created in the shadow of empire and war. These writers created a deeply skeptical and resolutely individualistic modernismone much less ideologically charged, for example, than its counterpart in Germany. Austro-Modernism was not avant-garde in the usual senses, Perloff shows. But its savage and grotesquely comic irony, its conviction, most memorably expressed by Wittgenstein, that argumentation was best conveyed through aphorism, its fondness for paradox and contradiction as modes of understanding, and its early embrace of an aesthetics of documentation and appropriationthese may well be the most lasting legacies of any modernist movement. Austro-Modernism emerges here as a vital alternative, not only to the French and Anglo-American modernisms that have largely defined the period, but also to Weimar and the Frankfurt School, so central to Anglo-American cultural studies."

Modernism in the Shadow of the Habsburg Empire

Edge of Irony

Ludwig Wittgenstein

1914-1916

Private Notebooks

Craig Dworkin

Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies. Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing. A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.

The Sound of Poetry / The Poetry of Sound

˜THEœ FUTURIST MOMENT.

"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"--

An Experiment in Micropoetics

Infrathin

One of our most important contemporary critics, Marjorie Perloff has been a widely published and influential reviewer, especially of poetry and poetics, for over fifty years. Circling the Canon, Volume I covers roughly the first half of Perloff’s career, beginning with her first ever review, on Anthony Hecht’s The Hard Hours. The reviews in this volume, culled from a wide range of scholarly journals, literary reviews, and national magazines, trace the evolution of poetry in the mid- to late twentieth century as well as the evolution of Perloff as a critic. Many of the authors whose works are reviewed in this volume are major figures, such as W. B. Yeats, Ezra Pound, Sylvia Plath, and Frank O’Hara. Others, including Mona Van Duyn and Richard Hugo, were widely praised in their day but are now all but forgotten. Still others—David Antin, Edward Dorn, or the Language poets—exemplify an avant-garde that was to come into its own.

The Selected Book Reviews of Marjorie Perloff, 1969-1994

Circling the Canon, Volume I

Postmodern Genres

Must poetic form be, as Yeats demanded, "full, sphere-like, single", or can it accommodate the "impurities" Yeats and his Modernist generation found so problematic? Sixty years later, these are still open questions, questions to which Marjorie Perloff addresses herself in the essays collected here. The first group of essays deals with Pound's own poetics as that poetics related to two of his great contemporaries, Stevens and Joyce, as well as to the visual arts of his day. The second group deals with the more technical aspects of verse and prose. In the last four essays, Perloff takes up broader issues, including the current pessimism about the state of poetry, and the work of experimental poets and conceptual poets.

Studies in the Poetry of the Pound Tradition

The Dance of the Intellect

avant-garde, avant-guerre, e a linguagem da ruptura

O momento futurista

Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal. "This book has the lucidity and the intelligence we have come to expect from Marjorie Perloff.—Linda Munk, American Literature "[Perloff] has brilliantly adapted Wittgenstein's conception of meaning and use to an analysis of contemporary language poetry."—Linda Voris, Boston Review "Wittgenstein's Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds."—David Clippinger, Chicago Review "Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic. . . . Entertaining, witty, and above all highly original."—Willard Bohn, Sub-Stance

Professor Marjorie Perloff

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.

Essays for Emergent Occasions

Poetry on & Off the Page

A fascinating memoir of refugee flight and survival, intellectual yet highly personal, by one America's eminent literary critics.

A Memoir

The Vienna Paradox

This collection of interviews and essays presents an entertaining and provocative introduction to the critical thought of Marjorie Perloff. The fourteen interviews conducted by accomplished scholars, poets, and critics from the United States, Denmark, Norway, France, and Poland cover many topics: poetry s nature as a literary genre, its current state, and its relation to art, politics, language, theory, and technology. The volume also features three essays by Perloff: an academic memoir, an exploration of poetry pedagogy, and an essay on the (re)constitution of the intellectuals in the 21st century. It will be an inspiring resource for both scholars and poets who care to live a life of attention, on and off the page of poetry."

Interviews and Essays

Poetics in a New Key

The Poetic Art of Robert Lowell

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.

Writing Poetry in the Age of Media

Radical Artifice

In 'Poetic License, ' Perloff insists that despite the recent interest in 'opening up the canon, ' our understanding of poetry and poetics is all too often rutted in conventional notions of the lyric that shed little light on what poets and artists are actually doing today.

Essays on Modernist and Postmodernist Lyric

Poetic License

Introduction: differential reading -- Crisis in the humanities? Reconfiguring literary study for the Twenty First Century -- Cunning passages and contrived corridors: rereading Eliot's "Gerontion" -- The search for "prime words": Pound, Duchamp, and the nominalist ethos -- "But isn't the same at least the same?" Wittgenstein on translation -- "Logocinema of the frontiersman" Eugene Jolas's multilingual poetics and its legacies -- "The silence that is not silence": acoustic art in Samuel Beckett's radio plays -- Language poetry and the lyric subject: Ron Silliman's Albany, Susan Howe's Buffalo -- After language poetry: innovation and its theoretical discontents -- The invention of "concrete prose": Haroldo de Campos's Galaxias and after -- Songs of the Earth: Ronald Johnson's Verbicovisuals -- THe Oulipo factor: The procedural poetics of Christian Bok and Caroline Bergvall -- Filling the space with trace: Tom Raworth's "Letters from Yaddo" -- Teaching the "new" poetries: the case of Rae Armantrout -- Writing poetry/writing about poetry: some problems of affiliation.

Marjorie Perloff

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