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"Reed, Brian M"
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Hart Crane
A critical reassessment of the life’s work of a major American poet. With his suicide in 1932, Hart Crane left behind a small body of work— White Buildings (1926) and The Bridge (1930). Yet, Crane’s poetry was championed and debated publicly by many of the most eminent literary and cultural critics of his day, among them Van Wyck Brooks, Kenneth Burke, Robert Graves, Allen Tate, and Edmund Wilson. The Bridge appears in its entirety in the Norton Anthology of American Literature , and Crane himself has been the subject two recent biographies. In Hart Crane: After His Lights , Brian Reed undertakes a study of Crane’s poetic output that takes into account, but also questions, the post-structural and theoretical developments in humanities scholarship of the last decade that have largely approached Crane in a piecemeal way, or pigeonholed him as represen-tative of his class, gender, or sexual orientation. Reed examines Crane’s career from his juvenilia to his posthumous critical reception and his impact on practicing poets following World War II. The first part of the study tests common rubrics of literary theory—nationality, sexuality, period—against Crane’s poetry, and finds that these labels, while enlightening, also obfuscate the origin and character of the poet’s work. The second part examines Crane’s poetry through the process of its composition, sources, and models, taking up questions of style, genealogy, and genre. The final section examines Crane’s influence on subsequent generations of American poets, especially by avant-garde literary circles like the New American poets, the Black Mountain School, the New York School, and the Beats. The result is a study that complicates and enriches our understandings of Crane’s poetry and contributes to the ongoing reassessment of literary modernism’s origins, course, and legacy.
eBook
Nobody’s Business
Since the turn of the new millennium English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences.Nobody's Businessis the first book to treat the emergence of Flarf and Conceptual Poetry in a serious way. In his engaging account, Brian M. Reed argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace.
Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of \"content providing\"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As Reed sees it, this new generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions or art and calls into question the legitimacy of the institutions that define it.
eBook
Phenomenal Reading
The essays in Phenomenal Reading entice readers to cross accepted barriers, and highlight the work of poets who challenge language-as-usual in academia and the culture at large.   Phenomenal Reading is comprised of essays that are central to how best to read poetry. This book examines individually and collectively poets widely recognized as formal and linguistic innovators. Why do their words appear in unconventional orders? What end do these arrangements serve? Why are they striking? Brian Reed focuses on poetic form as a persistent puzzle, using historical fact and the views of other key critics to clarify how particular literary works are constructed and how those constructions lead to specific effects.   Understanding that explication and contextualization do not always sufficiently harness the power of poetry, Reed pursues phenomenological methods that take into account each reader’s unique perception of the world. This collection of twelve essays values narrative as a tool for conveying the intricacy, contingency, and richness of poetic experience.
eBook
The Eagle has landed : 50 years of lunar science fiction
\"In celebration of the 50th anniversary of the Apollo 11 landing, the endlessly-mysterious moon is explored in this reprint short science fiction anthology from award-winning editor and anthologist Neil Clarke ... On July 20, 1969, mankind made what had only years earlier seemed like an impossible leap forward: when Apollo 11 became the first manned mission to land on the moon, and Neil Armstrong the first person to step foot on the lunar surface. While there have only been a handful of new missions since, the fascination with our planet's satellite continues, and generations of writers and artists have imagined the endless possibilities of lunar life. From adventures in the vast gulf of space between the earth and the moon, to journeys across the light face to the dark side, to the establishment of permanent residences on its surface, science fiction has for decades given readers bold and forward-thinking ideas about our nearest interstellar neighbor and what it might mean to humankind, both now and in our future. [This book] collects the best stories written in the fifty years since mankind first stepped foot on the lunar surface, serving as a shining reminder that the moon is and always has been our most visible and constant example of all the infinite possibility of the wider universe\"-- Provided by publisher.
Book
In Other Words: Postmillennial Poetry and Redirected Language
In the July/August 2009 issue of Poetry, Vanessa Place published a poem titled \"Miss Scarlett.\" Although writers like Place often defy common post-Romantic expectations about the nature and the function of the lyric, Reed suggests that their fundamental shared motivation is not avant-garde provocation. Rather, she says that these tell people something profound about psychology and sociality in the new millennium. Even in fantasy it might no longer be tenable to separate their sense of themselves from the information that they take in--or the manner in which they do so.
Journal Article
Carry on, England: Tom Raworth's \West Wind,\ Intuition, and Neo-Avant-Garde Poetics
Reed focuses on Tom Raworth's poem, West Wind in relation to an undeniably central feature of UK history, what Simon Perrill has called the postwar establishment of a welfare state and the subsequent erosion of this ideal. The poem stands at the intersection of multiple compelling historical trajectories, each with a distinct, knotty problem of interpretation.
Journal Article
Hand in Hand: Jasper Johns and Hart Crane
From 1962 to 1963, the American artist Jasper Johns produced a series of works that meditate on the life and verse of the modernist poet Hart Crane (1899-1932): the paintings \"Passage\", \"Diver\", \"Land's End\", and \"Periscope (Hart Crane)\"; the drawings \"Diver\" and \"Untitled (Periscope)\"; and the lithograph \"Hatteras\". This article sets out to demonstrate that Johns turned to Crane at a critical juncture, when his analysis of isolated icons and symbols was giving way to a broader investigation into language's rhetorical capacities. The author argues that the poet helped Johns to rethink artistic agency at a time when rivals like Andy Warhol and Robert Rauschenberg were beginning to espouse mechanistic conceptions of artistic production, and to mount a defence of traits supposedly spurned in the early 1960s: affect, illusion, transcendence, monumentality, and handicraft. (Quotes from original text)
Journal Article