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Books on the topic '1970s poetry'

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Published: 4 June 2021
Last updated: 30 January 2023

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1

Barry, Peter. Poetry wars: British poetry of the 1970s and the battle of Earls Court. Cambridge: Salt, 2006.

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2

de, Breyne Mathias, ed. The baby beats & the 2nd San Francisco renaissance: 1970s = Les années 1970. La Souterraine, France: La Main Courante, 2005.

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MacDougall, Alan. Inland sailing: A collection of poetic sketches concerning work on the Great Lakes during the 1970s. Keizer, OR: Eden Pub., 2001.

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4

Day, Gary, and Brian Docherty, eds. British Poetry from the 1950s to the 1990s. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25566-5.

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1956-, Day Gary, and Docherty Brian, eds. British poetry from the 1950s to the 1990s: Politics and art. New York, N.Y: St. Martin's Press, 1997.

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6

Irish poetry of the 1930s. Oxford: Oxford University Press, 2005.

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7

Eugenio, Montale. Satura: 1962-1970. Milano: A. Mondadori, 1992.

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8

1924-, Arrowsmith William, and Warren Rosanna, eds. Satura: 1962-1970. New York: W.W. Norton., 1998.

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9

Selected poems, 1970-1985. Bridgend, Mid Glamorgan: Poetry Wales Press, 1986.

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10

1961-, De Paor Louis, ed. Freacnairc mhearcair: Rogha dánta 1970-1998 = The oomph of quicksilver : selected poems 1970-1998. Cork: Cork University, 2000.

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11

1946-, Codrescu Andrei, ed. American poetry since 1970: Up late. New York: Four Walls Eight Windows, 1987.

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12

1946-, Codrescu Andrei, ed. American poetry since 1970: Up late. 2nd ed. New York: Four Walls Eight Windows, 1989.

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13

Smith, Patti. Early work, 1970-1979. New York: W.W. Norton, 1994.

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14

Rich, Adrienne Cecile. Collected early poems, 1950-1970. New York: W.W. Norton & Co., 1993.

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15

Hamill, Sam. Destination zero: Poems, 1970-1995. Fredonia, N.Y: White Pine Press, 1995.

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16

Rich, Adrienne Cecile. Collected early poems, 1950-1970. New York: W.W. Norton & Co, 1993.

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17

1949-, Caddel Richard, and Quartermain Peter, eds. Other: British and Irish poetry since 1970. Hanover, NH: University Press of New England, 1999.

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18

Geddes, Gary. Active trading: Selected poems, 1970-1995. Fredericton, N.B: Goose Lane, 1996.

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19

Sapphics and uncertainties: Poems 1970-1986. Fayetteville, Ark: University of Arkansas Press, 1995.

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20

Cold comfort: Selected poems, 1970-1996. Santa Rosa, Calif: Black Sparrow Press, 1997.

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21

Gardner, Calum. Poetry & Barthes. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941367.001.0001.

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This book is the first study of how the work of Roland Barthes, one of the most influential literary theorists of the twentieth century, came to be understood by poets working in English. Beginning with the work of the Scottish poet Veronica Forrest-Thomson in the 1970s, it traces Barthes through North American ‘Language writing’, the journals and little magazines of the period, 1980s writers responses to Barthes’ work on love, and finally writers who, for a variety of reasons, rejected Barthes’ theoretical interventions. In doing so, it offers a picture of how poets’ understanding of their own projects develops during this period as well as a unique perspective on Barthes and his reception, positive and negative, in English-language poetry communities.
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22

MOONDRIFTER REVERIE: A POETRY NARRATIVE OF 1970S HOUSEBOAT LIFE. Red Mountain Press, 2017.

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23

James, Synthia Saint. In and Out of Love: Selected Poetry from the 1970s. Atelier SAINT JAMES, 2015.

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24

Bailey, Helen. Two Poetries?: A Re-Examination Of The ‘Poetry Divide’ In 1970s Britain. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199596805.013.021.

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25

Niven, Alex, ed. Letters of Basil Bunting. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780198754817.001.0001.

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Abstract This is a long-awaited first selected edition of the letters of Basil Bunting, one of the major modernist poets of the twentieth century. It includes a large portion of Bunting’s correspondence (around 200 letters) to recipients including Ezra Pound, T. S. Eliot, Harriet Monroe, William Carlos Williams, Louis Zukofsky, Ted Hughes, George Oppen, Allen Ginsberg, Donald Davie and Tom Pickard. Following Bunting from his first encounters with literary modernism in London and Paris in the 1920s to his death in Northumberland in 1985, this selection showcases a narrative that is crucial to the history of modernism and modern poetry in English. Highlights include a long and detailed dialogue with Ezra Pound in the 1930s on political, economic, and literary subjects; a rich, ruminative exchange with the American Marxist poet Louis Zukoksfy lasting over four decades; and various accounts of the excitements and controversies of the Anglo-American poetry scene of the 1960s and 1970s. Whether Bunting is writing from New York at the height of the Depression, Iran in the aftermath of World War II or the north of England during preparation of his masterpiece Briggflatts (1966), his prose is unfailingly sharp, eloquent, entertaining, and caustic. This edition contains detailed annotations of Bunting’s letters, a critical introduction, glossary of names, and an editorial commentary.
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26

The Language Letters: Selected 1970s Correspondence of Bruce Andrews, Charles Bernstein, and Ron Silliman. University of New Mexico Press, 2019.

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27

Hazzard, Oli. John Ashbery and Anglo-American Exchange. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822011.001.0001.

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This book shows how the work of a major post-war American poet has been centrally concerned with questions of national identity and intercultural poetic exchange, by reading crucial episodes in John Ashbery’s oeuvre in the context of an ‘other tradition’ of twentieth-century English poets he himself has defined. This line runs from the editor of Ashbery’s recent Collected Poems, Mark Ford, through Lee Harwood in the late 1960s, F. T. Prince in the 1950s, to ‘chronologically the first and therefore most important influence’ on his own work, W. H. Auden. Through detailed close readings of the poetry of Ashbery and these English poets, original interviews, and extensive archival research, a new account of Ashbery’s ‘minor’ aesthetic and a significant re-mapping of postwar English poetry are presented. The biographical slant of the book is highly significant, as it reads these writers’ poetry and correspondence together for the first time, suggesting how major poetic innovations arose from specific social contexts, from the particulars of relations between poets, and also from a broader climate of transatlantic exchange as registered by each poet. The result is that both Ashbery himself, and the landscape of post-war English poetry, are viewed in a significantly new light.
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28

Hunter, Walt. Forms of a World. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282227.001.0001.

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Forms of a World: Contemporary Poetry and the Making of Globalization shows how the forms of contemporary poetry are forged through the transformations of globalization from 1970 to the present. The book’s inquiry springs from two related questions: what happens when we think of poetry as a global literary form, and when we think of the global in poetic terms? I argue that analyses of globalization are incomplete without poetry and that contemporary poetry cannot be understood fully without acknowledging the global forces from which it arises. Forms of a World contends that poetry’s role is not only to make visible thematically the violence of global dispossessions, but to renew performatively the missing conditions for intervening within these processes. Poetic acts—in this book, the rhetoric of possessing, belonging, exhorting, and prospecting—address contemporary conditions that render social life ever more precarious. I turn to an eclectic group of Anglophone poets, from Seamus Heaney and Claudia Rankine to Natasha Trethewey and Kofi Awoonor, whose poetry and whose lives are, in different but related ways, inseparable from the contemporary global situation. These poets creatively intervene in global processes by remaking their poetry’s repertoire of forms, from experiments in the sonnet to contemporary inventions of the ode.
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29

Beatitude magazine & the 1970s San Francisco renaissance: --a panegyric to the poets, pally and place-- : a photographic history. 2014.

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30

Westfahl, Gary. A Dangerous Amateur. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037801.003.0003.

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This chapter discusses William Gibson's contributions to science fiction fanzines in the 1960s, 1970s, and 1980s, with particular emphasis on his cartoons and articles. When he was fifteen, Gibson began publishing cartoons in Fanac and his own fanzines, which reflect an adolescent sense of humor. Two cartoons in Wormfarm indicate that Gibson, like many science fiction fans, detested John W. Campbell Jr.'s enthusiasms for dubious pseudoscience like psychic powers (“psionics”) and the Dean Drive, a purported engine that violated Newton's Third Law of Motion. Gibson's prose in early fanzines is generally unmemorable, suggesting that he channeled his creative energies into poetry at the time. During his stay in Arizona, Gibson devoted his time to doing normal things, but he never really stopped reading science fiction. This chapter also considers Gibson's published reviews and articles, including “Stoned,” which appeared in the 1976 issue of the BCSFA Newsletter.
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31

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. The poetics of language. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0035.

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The chapter analyzes language-oriented poets and movements, showing how different conceptions of the poetic word emerged and influenced writing and performance throughout the period. The chapter follows the ramifications of avant-garde experiment, expressed in manifestos, public gestures, and performances. These innovations continued to influence the artistic practices of the 1920s and were revived later in the 1960s–80s. They comprised a legacy for concrete and Conceptualist poetry and, later, Metarealism. The chapter discusses the connection of these groups to underground culture, and shows how the inherited tropes of the avant-garde join up with postmodernist poetics and narratives in the post-Soviet period.
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32

Feinsod, Harris. The Ruins of Inter-Americanism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682002.003.0004.

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During the early Cold War, inter-Americanism often took shape in the genre of postromantic meditations on pre-Columbian ruins. These ruin poems are usually understood as expressions of universal humanism, exercises in postmodern tourism, symptoms of neo-imperial fortune hunting, or preludes to 1970s ethnopoetics. By contrast, the chapter argues that ruin poems galvanized by Pablo Neruda’s “Heights of Macchu Picchu” and Charles Olson’s “The Kingfishers” respond to the rapid demise of the movement for hemispheric democracy. Through their identifications with indigenous civic histories, poets critiqued the collapse of political and cultural inter-Americanism. Moving beyond poets like Neruda and Olson who had previously maintained a formal relation to Good Neighbor diplomacy, it shows how even Allen Ginsberg’s poetic theories developed during sojourns in Mayan Mexico, and the tropes of ruin poetry subtend the “destroyed” generation in “Howl” (1956), as well as poems by writers in his cohort such as Philip Lamantia and Ernesto Cardenal.
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33

Wootten, William. The Alvarez Generation. 2nd ed. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789627947.001.0001.

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This book is the biography of a taste in poetry and its consequences. During the 1950s and 1960s, a generation of poets appeared who would eschew the restrained manner of Movement poets such as Philip Larkin, a generation who would, in the words of the introduction to A. Alvarez's classic anthology The New Poetry, take poetry ‘Beyond the Gentility Principle’. This was the generation of Thom Gunn, Geoffrey Hill, Ted Hughes, Sylvia Plath, and Peter Porter. This book explores what these five poets shared in common, their connections, critical reception, rivalries, and differences, and locates what was new and valuable in their work. The book presents an important re-evaluation of a time when contemporary poetry and its criticism had a cultural weight it has now lost and when a ‘new seriousness’ was to become closely linked to questions of violence, psychic unbalance and, most controversially of all, suicide.
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34

Foster, Roy. The Poetry Question. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199574797.003.0017.

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Oxford University Press, with a long tradition of publishing scholarly books on English literature, canonical authors, and anthologies of poetry, did not introduce a contemporary poetry list until the 1960s. Under the direction of Jon Stallworthy, himself a noted poet, and with the support of the Delegates, the Press developed a vibrant list that included the work of poets from Britain, Ireland, America, Australia, and New Zealand, as well as English poetic translations of European titles. Despite its critical success the poetry list was not profitable, and, facing serious financial constraints across the business, the Finance Committee decided to discontinue the list in 1998. The chapter discusses the financial considerations behind the decision, the heated debate it provoked both within the University and in the media, and the lasting impact of the controversy on the Press.
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35

Jaime, Karen. The Queer Nuyorican. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479808281.001.0001.

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The Queer Nuyorican critically studies the historical, political, and cultural conditions under which the term “Nuyorican” shifts from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. While “Nuyorican,” uppercase N, marks an ethnic, political, and cultural identity signifying Puerto Rican community, culture, and struggle in New York City from the late 1960s through the 1980s, “nuyorican,” lowercase n, references an aesthetic practice that developed alongside the spoken word and competitive slam poetry scene in the 1990s. The nuyorican aesthetic queers fixed definitions of Nuyorican identity by recognizing and including queer poets and performers of color whose cultural works build upon the linguistic, spatial, and ethno-cultural politics inherent in the Cafe’s founding. Initially situated within the Cafe’s physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker “Nuyorican” in order to include queer, trans, and diasporic performance modalities. Focusing on the interventions made by queer and trans artists of color—Miguel Piñero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker—this book argues that the Nuyorican Poets Cafe has operated as a queer space since its inception.
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36

Szkárosi, Endre. The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.46.

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This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultural trends helped to form a particular underground scene, mainly in the 1980s. Contextualizing these phenomena, the author makes a comparative study of the main tendencies of the given period on such a field in Euro-American sound poetry experimentations (Futurism, Dada, Fluxus), while highlighting some outstanding works of Hungarian poets and groups, such as Tibor Papp, Katalin Ladik, and Konnektor.
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37

(Editor), Gary Day, and Brian Docherty (Editor), eds. British Poetry from the 1950s to the 1990s: Politics and Art. St. Martin's Press, 1997.

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38

Docherty, Brian, and Gary Day. British Poetry from the 1950s to The 1990s: Politics and Art. Palgrave Macmillan, 1997.

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39

Gary, Day, and Docherty Brian, eds. British poetry from the 1950s to the 1990s: Politics and art. Basingstoke: Macmillan, 1997.

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40

Dworkin, Craig. Dictionary Poetics. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287987.001.0001.

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Dictionary Poetics analyses book-length poems from a number of writers who have used particular editions of specific dictionaries to structure their work. Spanning most of the 20th century, this study investigates poems by Louis Zukofsky and George Oppen (two “Objectivist” writers of the late 1920s and early 1930s), Clark Coolidge and Tina Darragh (two “Language Poets” with books from the 1970s and 1980s, respectively), and Harryette Mullen (a post-Black-Arts writer who flourished in the 1990s). By reverse-engineering poems, this study sets the critical record straight on multiple counts. Moreover, reading these poems in tandem with their source texts puts paid to the notion that even the most abstract and fragmentary avant-garde poems are nonsensical, meaningless, or impenetrable. When read from the right perspective, passages that at first appear to be discontinuous, irrational, or hopelessly cryptic suddenly appear logically consistent, rationally structured, and thematically coherent. Indeed, beyond the particular arguments and local readings, Dictionary Poetics argues that the new ways of writing pioneered by the literary avant-garde invite new ways of reading commensurate with their modes of composition. Dictionary Poetics maps and articulates the material surfaces of poems, tracing the networks of signifiers that undergird the more familiar representational schemes with which conventional readings have been traditionally concerned. In the process, this book demonstrates that new ways of reading can yield significant interpretive payoffs, open otherwise unavailable critical insights into the formal and semantic structures of a composition and transform our understanding of literary texts at their most fundamental levels.
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41

Ehlers, Sarah. Left of Poetry. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.001.0001.

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In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes, Muriel Rukeyser, and Jacques Roumain, and uncovering the contributions of lesser-known writers such as Genevieve Taggard and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes—such as lyric and documentary—and genres, including songs, ballads, and nursery rhymes, in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.
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42

Antliff, Allan. Poetic Tension. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041051.003.0008.

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This essay examines the politics of New York's Living Theater, from its founding in late 1940s to the mid-1960s. He will outline Julian Beck and Judith Malina's anarchist-pacifism, their involvement in anti-nuclear bomb protests during the 1950s and early 1960s, and the increasingly confrontational tenor of their theater productions. Topics to be discussed include the abstract expressionist paintings of Beck, Malina's interest in the Gestalt theories of Paul Goodman, and the group's collaborations with composer John Cage, poet Jackson Mac Low, and the artists of the No! Art! movement. The chapter will close with group's departure for Europe in1964.
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43

Greene, Dana. “A Cataract Filming Over My Inner Eyes”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037108.003.0005.

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This chapter details the life and career of Denise Levertov from 1962 to 1967. The 1960s was an auspicious time to be a poet. Poetry magazines, publishing houses, poetry readings, and writer-in-residence programs at colleges and universities proliferated, allowing for greater exposure for poets, especially for women, who previously had little opportunity for recognition of their talent. Levertov benefited from these circumstances. She was in demand as a poet, and in 1962, was granted a coveted Gugenheim Fellowship. In addition to its prestige, the accompanying monetary award allowed her some luxuries: a new washing machine, dryer, and dishwasher. Each made domestic life simpler. In 1963, with Gugenheim support ended, Levertov contributed to the family's finances through her poetry readings by working as poetry editor for the Nation, staying until early 1965, and by serving as a consultant first for Wesleyan University Press and a year later for W. W. Norton. Levertov also engaged in antiwar activities.
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44

Dewar, Andrew Raffo. Performance, Resistance, and the Sounding of Public Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0015.

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Two years after the 1966 military coup in Argentina, three musicians, Norberto Chavarri, Roque de Pedro and Guillermo Gregorio, formed the intermedia performance collective Movimiento Música Más. The collective combined experimental music, visual art, poetic performance, and political action, carrying out activities in concert halls, plazas, and city buses. This chapter examines the activist art of this little-known “Other” avant-garde that existed at the periphery of 1960s internationalism, focusing on two of its performance pieces: Plaza para una siesta de domingo (1970) and Música para colectivo línea 7 (1971), composed by Norberto Chavarri. These two performances embody the group’s approach to experimentalism: a commitment to bringing art and people into public spaces during a time of rigid governmental control of those spaces and bodies, creating domestically inspired aesthetic responses to the complex problems of late 1960s and early 1970s Buenos Aires.
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45

Kerrigan, John, and Peter Robinson, eds. The Thing About Roy Fisher. Liverpool University Press, 2000. http://dx.doi.org/10.5949/liverpool/9780853235156.001.0001.

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The Thing About Roy Fisher, edited by John Kerrigan and Peter Robinson, brings together critical essays that aim to increase the awareness of the literature produced by Roy Fisher during his forty year writing career. The following studies offer analytical research that focus on the historical context and influences surrounding Fisher’s writing, including the writer’s block he experienced in the late 1960s and his personal relationship to the city of Birmingham. The text also makes a comment on the work’s reception from both critical and public opinion and measures how well Fisher’s poetry is considered today. As well as providing contextual and factual detail, the book also concentrates on an assessment of Fisher’s varied poetic style, a manner of writing that only highlights the poet’s decision to reject the constraints of British lyrical poetry of the time, and outlines the recurring motifs and crossed boundaries present in his poetry.
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46

Feinsod, Harris. Renga and Heteronymy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682002.003.0007.

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This chapter uses the backdrop of the myriad international poetry conferences of the 1960s to analyze poetic performances of cosmopolitanism and the discourse of translation. The ethical role of convening poets to perform and translate one another’s works was mainstreamed as a literary idea in service to the maintenance of a peaceful world, so much so that Paz, in the multilingual, collaboratively authored Renga (1971), announced he was living in “the century of translation.” Juxtaposing Renga and Kenneth Koch’s collection of hoax translations “Some South American Poets,” the chapter elucidates how these antithetical authorial modes endorse and critique the tenor of cultural diplomacy under the Pax Americana. Through new forms of critical cosmopolitanism, these works alternately memorialize and parody the midcentury groundswell of poetic inter-Americanism that the book recounts.
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47

Greene, Dana. “The Thread”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037108.003.0009.

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This chapter details the life and career of Denise Levertov from 1982 to 1984. “The Thread,” a poem of the 1960s, reflected Levertov's ongoing awareness of her vocation. In the early 1980s at age sixty, the tug was there again. In this case it was a silent ineluctable shift from the doubt that grounded her lifelong agnosticism toward a tentative religious faith. This resulted not from some dramatic conversion but from “faithful attention” to living out her vocation as a poet. Levertov came to religion tentatively, doubting, embarrassed. Occasionally, she would attend a religious service, something she had generally eschewed since adolescence. The gradual realignment of doubt and faith expressed itself in her poetry. In fact it was in the process of writing poetry that she first experienced this shift.
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48

Galvin, Rachel. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190623920.003.0009.

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Writing about the wars in Iraq and Afghanistan, contemporary United States–based poets Mónica de la Torre, Ben Lerner, Philip Metres, Claudia Rankine, Juliana Spahr, and C. D. Wright have repurposed the news media’s logic of juxtaposition and simultaneity and civilian poets’ meta-rhetorical strategies from the 1930s and 1940s. Recent scholarship has not yet attended to how U.S. civilian poets use these strategies to critique war culture in the twenty-first century. This chapter argues that an ethically motivated self-distrust that sees itself seeing has become the prima materia of an important strand of civilian war poetry today. Some contemporary poets use rhetoric to craft texts that cultivate connectivity rather than expressing oratorical postures of authority, while others aim to bring together the experiences of soldier and civilian through collaborative projects. Both modes reinforce the notion that witnessing war in the flesh affords special knowledge.
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49

Fakhreddine, Huda J. The Arabic Prose Poem. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474962.001.0001.

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When the modernist movement in Arabic poetry was launched in the 1940s, it threatened to blur the distinctions between poetry and everything else. The Arabic prose poem, qaṣīdat al-nathr, is probably the most subversive and extreme manifestation of this blurring. The term was first introduced in 1960, as a translation of the French phrase «poème en prose» and is the first example of non-metrical Arabic poetry. This book examines this “new genre” as a poetic practice and as a critical lens which gave rise to a profound, contentious and continuing debate about the definition of an Arabic poem, its limits, and its relation to its readers. It examines the history of the prose poem, its claims of autonomy and distance from its socio-political context, and the anxiety and scandal it generated. It takes as case-studies several understudied and unstudied poets, such as Salim Barakat (b. 1951), Unsi al-Hajj (1937-2014), and Muhammad al-Maghut (1934-2006), who are important in their own right and who exerted great influence on the poets who succeeded them. The book also sheds light on the works of more recent poets, such as the Egyptian poets of the nineties and younger poets whose careers launched in the twenty-first century and who have not hitherto been studied in English.
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50

American Poetry Since 1970. Four Walls Eight Windows, 1993.

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