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 historical past usually locates the first circulate 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 by means of tracing the elemental continuities among Romanticism’s poetic and political radicalism and the experimental events in poetry from the late-nineteenth-century to the current day.
in accordance with editors July Carr and Jeffrey C. Robinson, “active romanticism” is a poetic reaction, direct or oblique, to urgent social matters and an try and redress types of ideological repression; at its middle, “active romanticism” champions democratic pluralism and confronts ideologies that suppress the proof of pluralism. “Poetry fetter’d, fetters the human race,” declared poet William Blake at first 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 development calls for the unfettering of conventional, general poetic shape and language.
Bringing jointly paintings through recognized 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 particularly the well-spring from which it flowed.
providing a basic rethinking of the background of contemporary poetry, Carr and Robinson have grouped jointly during this assortment various essays that be sure the life of Romanticism as an ongoing mode of poetic construction that's leading 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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Additional resources for Active romanticism : the radical impulse in nineteenth-century and contemporary poetic practice
Dismiss this fantasy in favor of our startled shade. I remembered my tricks and what they did. Even apples aren’t free. Our life against the midnight lens: poor Crusoe on Mars. I’m walking through this wall of air to comfort my senate” (74). The capitol at midnight was, for Whitman, a dreamlike vision; the capitol of the capital, housing legislative bodies within the crowded, lonely, and erotically charged city. Within Leaves of Grass, he repeatedly looks for his companions, readers, and lovers, his hand against the leaves of his endlessly remade book, a site of literary, sexual, and 30 Elizabeth Willis political risk.
The poet writes a poem within which the objects of the world are called back into reality but does so knowing, always and inevitably, that the reality of the world precedes that of the poem. Witness is its own riddle that suspects it must create a world in order to say that the world it did not create is real. Just such amazed intricacy underlies the Romantic sense of poetry’s impossible relation to knowledge and experience. Coleridge’s sense of poetic wholeness that “reveals itself in the balance or reconcilement of opposite or discordant qualities” (Coleridge, Selected Poetry and Prose 269) includes the illogical harmony in which the reality of the poem precedes its own manifestation of that reality.
The mind, too, is a convective process. It is within such molten light that certain audacities of Romantic thought might be seen. , generative and apocalyptic) insight: “For poetry was all written before time was, and whenever we are so finely organized that we can penetrate into that region where the air is music, we hear those primal warblings and attempt to write them down, but we lose ever and anon a word or a verse and substitute something of our own, and thus miswrite the poem” (Rothenberg and Robinson 907–8).