Form, power, and person in Robert Creeley's life and work
著者
書誌事項
Form, power, and person in Robert Creeley's life and work
（Contemporary North American poetry series）
University of Iowa Press, c2010
大学図書館所蔵 件 / 全3件
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該当する所蔵館はありません
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注記
Includes bibliographical references and index
Icludes bibliographical references (p. [233]-241) and index
収録内容
- Robert Creeley out of school: the making of a singular poetics / Marjorie Perloff
- What does echoes echo? / Charles Altieri
- Revisiting seriality in Creeley's poetry / Alan Golding
- The repeated insistence: Creeley's rage / Michael Davidson
- The hole : death, sexual difference, and gender contradictions in Creeley's poetry / Rachel Blau DuPlessis
- Momently : the politics of the poem / Peter Quarterman
- Reconsidering the company of love: Creeley between Olson and Levetov / Libbie Rifkin
- Scenes of instruction: Creeley's reflexive poetics / Peter Middleton
- Creeley's contextual practice: interviews, conversations, and collaborations / Stephen Fredman
- What is experience? / Benjamin Friedlander
内容説明・目次
内容説明
By any measure - international reputation, influence upon fellow writers and later generations, number of books published, scholarly and critical attention - Robert Creeley (1926-2005) is a literary giant, an outstanding, irreplaceable poet. For many decades readers have remarked upon the almost harrowing emotional nakedness of Creeley's writing. In the years since his death, it may be that the disappearance of the writer allows that nakedness to be observed more readily and without embarrassment. Written by the foremost critics of his poetry, ""Form, Power, and Person in Robert Creeley's Life and Work"" is the first book to treat Creeley's career as a whole. Masterfully edited by Stephen Fredman and Steve McCaffery, the essays in this collection have been gathered into three parts. Those in ""Form"" consider a variety of characteristic formal qualities that differentiate Creeley from his contemporaries. In ""Power"", writers reflect on the pressure exerted by emotions, gender issues, and politics in Creeley's life and work. In ""Person"", Creeley's unique artistic and psychological project of constructing a person - reflected in his correspondence, teaching, interviews, collaborations, and meditations on the concept of experience - is excavated. While engaging these three major topics, the authors remain, as Creeley does, intent upon the ways such issues appear in language, for Creeley's nakedness is most conspicuously displayed in his intimate relationship with words.
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