By Dr. Julie Carr, Jeffrey C. Robinson Ph.D., Dan Beachy-Quick, Jacques Darras, Rachel Blau DuPlessis, Judith Goldman, Simon Jarvis, Andrew Joron, Nigel Leask, Jennifer Moxley, Bob Perelman, Jerome Rothenberg, Elizabeth Willis, Heriberto Yépez
Literary background commonly locates the first circulation 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 Active Romanticism problem this interpretation via tracing the basic continuities among Romanticism’s poetic and political radicalism and the experimental routine in poetry from the late-nineteenth-century to the current day.
in line with editors July Carr and Jeffrey C. Robinson, “active romanticism” is a poetic reaction, direct or oblique, to urgent social concerns and an try and redress different types of ideological repression; at its middle, “active romanticism” champions democratic pluralism and confronts ideologies that suppress the facts of pluralism. “Poetry fetter’d, fetters the human race,” declared poet William Blake in the beginning of the 19th century. No different assertion from the period of the French Revolution marks with such terseness the problem for poetry to take part within the liberation of human society from different types of inequality and invisibility. No different assertion insists so vividly poetic occasion pushing for social growth calls for the unfettering of conventional, regular poetic shape and language.
Bringing jointly paintings by means of famous writers and critics, ranging from scholarly reviews to poets’ testimonials, Active Romanticism shows Romantic poetry to not be the sclerotic corpse opposed to which the avant-garde reacted yet relatively the well-spring from which it flowed.
supplying a basic rethinking of the heritage of recent poetry, Carr and Robinson have grouped jointly during this assortment quite a few essays that make certain the lifestyles of Romanticism as an ongoing mode of poetic creation that's cutting edge and dynamic, a continuation of the nineteenth-century Romantic culture, and a sort that reacts and renews itself at any given second of perceived social crisis. Cover photo: Ruckenfigur by way of Susan Bee, 2013, oil on linen, 24 x 30 in.
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Extra resources for Active romanticism : the radical impulse in nineteenth-century and contemporary poetic practice
The panic inside the poet is that the poem obstructs connection to the very world it sought connection to. Emerson understands that we mar the music we hear by noting it down. That flawed pattern—it is ourselves. It is me. I am the place to be abandoned. III. “Not myself goes home to myself ” Language others us. John Keats, on October 27, 1818, wrote a famous letter in which he describes this primary poetic difficulty: As to the poetical Character itself (I mean that sort of which, if I am any thing, I am a Member; that sort distinguished from the wordsworthian or egotistical sublime; which is a thing per se and stands alone) it is not itself—it has no self—it is every thing and nothing—It has no character—it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, rich or poor, mean or elevated—It has as much delight in conceiving an Iago as an Imogen.
What shocks the virtuous philosopher, delights the camelion Poet. It does no harm from its relish of the dark side of things more than from its taste for the bright one; because they both end in speculation. A Poet is the most unpoetical of any thing in existence; because he has no Identity—he is continually in for—and filling some other Body—The Sun, the Moon, the Sea and Men and Women who are creatures of impulse are poetical and have about them an unchangeable attribute—the poet has none; no identity—he is certainly the most unpoetical of God’s Creatures.
Because such men hourly communicate with the best objects from which the best part of language is originally derived. (“Preface” to the second edition of Lyrical Ballads 5) The latticework overarching the crisis of Romantic epistemology—of experience impossibly preceding experience, and the poem as the expression of that paradox—is a theory of language. ” It is the common that is strange. “Common” here points beyond the class distinction that is the word’s brute meaning. That “low and rustic” life is valuable not only because of its honesty, but because that honesty alters the epistemological relation to language’s use, brings it not only closer to the earth, but reestablishes primary relation between a speaker and the spoken.