Scope and Contents

In this work, Perloff consolidates the thrust olf the avant garde movements of the early 20th century as a whole. She provides extensive critical and analytic discussions of Cendrars and Delauney's "La Prose du Transsiberien" (held by the Sackner Archive), Marinetti's "Zang Tumb Tuuum" (held by the Sackner Archive), and Carra's "Interventionist Manifesto" (possibly the best discussion of a Futurist collage work). In addition, several classical books and periodicals of the Futurist and Russian Avant Garde periods as well as Robert Smithson's conceptual works are extensively reviewed. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Nancy Perloff writes about "Sound Poetry and the Musical Avant Garde." Antonio Sergio Bessa contributes an essay "Sound as Subject: Augusto de Campos's Poetamenos." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Dust jacket description: 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...