By Michael Golston
The form, lineation, and prosody of postmodern poems are extravagantly artistic, imbuing their shape with as a lot that means as their content material. via a survey of yank poetry and poetics from the tip of worldwide conflict II to the current, Michael Golston lines the proliferation of those experiments to a starting to be fascination with allegory in philosophy, linguistics, serious idea, and aesthetics, introducing new techniques for studying American poetry whereas embedding its formal recommendations in the background of highbrow thought.
Beginning with Walter Benjamin's specific knowing of Surrealism as an allegorical artwork, Golston defines a unique engagement with allegory between philosophers, theorists, and critics from 1950 to this day. examining Fredric Jameson, Angus Fletcher, Roland Barthes, and Craig Owens, and dealing with the semiotics of Charles Sanders Pierce, Golston develops a thought of allegory he then applies to the poems of Louis Zukofsky and Lorine Niedecker, who, he argues, wrote based on the Surrealists; the poems of John Ashbery and Clark Coolidge, who included formal elements of filmmaking and images into their paintings; the groundbreaking configurations of P. Inman, Lyn Hejinian, Myung Mi Kim, and the Language poets; Susan Howe's "Pierce-Arrow," which he submits to semiotic research; and the recommendations of Craig Dworkin and the conceptualists. Revitalizing what many deliberate to be a staid rhetorical trope, Golston positions allegory as an inventive catalyst in the back of postwar American poetry's avant-garde achievements.
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Poetic Machinations: Allegory, Surrealism, and Postmodern Poetic Form by Michael Golston
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