Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers (Everywoman.)

Slight shelf wear on covers w/tight binding...Former owner's name stamped on title page and bottom of pages (when closed)...I scanned/flipped through pages and didn't see any notations, underlining, tears or highlights (but it's POSSIBLE in a used book)

Literature & Fiction

DuPlessis, Rachel Blau

History & Criticism

Indiana Univ. Pr

This volume fills a real gap in H. D. scholarship. It is situated at the crossroads of contemporary hermeneutics and feminist criticism.

H.D.: The Career of That Struggle (Key Women Writers)

H. D.: The Career of That Struggle (Key Women Writers)

Indiana University Press

The pink guitar: Writing as feminist practice

A noted feminist critic and innovative poet, Rachel DuPlessis has gathered her speculative essays in a unique collection that is as much a work of art as a book of feminist criticism. Fusing meditation and passion, The Pink Guitar articulates an extensive critique of modernist representations of the female whose prose reverberates with the intensive rhythms of art.

The Pink Guitar: Writing as Feminist Practice

Routledge

Genders, Races, and Religious Cultures in Modern American Poetry, 1908–1934 (Cambridge Studies in American Literature and Culture, Series Number 125)

In this book, Rachel Blau DuPlessis shows how, through poetic language, modernist writers represented the debates around such social issues of modernity as suffrage, sexuality, manhood, and African-American and Jewish subjectivities. DuPlessis engages with the work of such canonical poets as Wallace Stevens, Ezra Pound, T. S. Eliot, William Carlos Williams, Gertrude Stein, Marianne Moore and H. D., as well as Mina Loy, Countee Cullen, Alfred Kreymborg and Langston Hughes, writers still marginalized by existing constructions of modernism.

Cambridge University Press

Feminist issues in avant garde poetry. In her now-classic The Pink Guitar, Rachel Blau DuPlessis examined a number of modern and contemporary poets and artists to explore the possibility of finding a language that would question deeply held assumptions about gender. In the 12 essays and introduction that constitute Blue Studios, DuPlessis continues that task, examining the work of experimental poets and the innovative forms they have fashioned to challenge commonplace assumptions about gender and cultural authority. The essays in “Attitudes and Practices” deal with two questions: what a feminist reading of cultural texts involves, and the nature of the essay itself as a mode of knowing: how poetry can be discursive and how the essay can be poetic. The goal of “Marble Paper,” with its studies of William Wordsworth, Ezra Pound, and Charles Olson is to suggest terms for a “feminist history of poetry.” “Perspectives must be fashioned that displace and estrange the world,” Theodore Adorno wrote, and in the section "Urrealism" DuPlessis examines the work of poets from several schools (the Objectivists, the New York School, the surrealists) whose work embodies that displacement, among them George Oppen, Lorine Niedecker, H.D., and Barbara Guest. These writers’ radical deployment of line, sound, and structure, DuPlessis argues, demonstrate poetry’s power not as a purely literary, artistic, or aesthetic force but as a rhetorical form intricately tied to issues of power and ethics. And in "Migrated Into,” the author probes the ways these issues have informed her, as a poet and a critic; how the political has “migrated into” and suffused her own work; and how the practice of poetry can be an arousal to a deeper understanding of what we stand for. 

Blue Studios: Poetry and Its Cultural Work (Modern and Contemporary Poetics)

University Alabama Press

Feminist issues in avant garde poetry. In her now-classic The Pink Guitar, Rachel Blau DuPlessis examined a number of modern and contemporary poets and artists to explore the possibility of finding a language that would question deeply held assumptions about gender. In the 12 essays and introduction that constitute Blue Studios, DuPlessis continues that task, examining the work of experimental poets and the innovative forms they have fashioned to challenge commonplace assumptions about gender and cultural authority. The essays in “Attitudes and Practices” deal with two questions: what a feminist reading of cultural texts involves, and the nature of the essay itself as a mode of knowing: how poetry can be discursive and how the essay can be poetic. The goal of “Marble Paper,” with its studies of William Wordsworth, Ezra Pound, and Charles Olson is to suggest terms for a “feminist history of poetry.” “Perspectives must be fashioned that displace and estrange the world,” Theodore Adorno wrote, and in the section "Urrealism" DuPlessis examines the work of poets from several schools (the Objectivists, the New York School, the surrealists) whose work embodies that displacement, among them George Oppen, Lorine Niedecker, H.D., and Barbara Guest. These writers’ radical deployment of line, sound, and structure, DuPlessis argues, demonstrate poetry’s power not as a purely literary, artistic, or aesthetic force but as a rhetorical form intricately tied to issues of power and ethics. And in "Migrated Into,” the author probes the ways these issues have informed her, as a poet and a critic; how the political has “migrated into” and suffused her own work; and how the practice of poetry can be an arousal to a deeper understanding of what we stand for.

An influential feminist study of poetry and writing. The Pink Guitar is a landmark study of women's writing and poetics--and representations of women artists--in the 20th century. It probes the work of H.D., William Carlos Williams, and Marcel Duchamp, among others, and includes DuPlessis’s pioneering essay “For the Etruscans,” described in American Literature as “one of the finest pieces of criticism in the feminist literary tradition.”“This is one of the most pleasurable works of criticism I have read in years. These essays fuse disparate voices, colloquial, theoretical, autobiographical. They intercut DuPlessis’s own words with those of other writers and poets. They draw together aspects of being usually sundered in criticism, without imposing systems or closure.” --Helen Carr, New Formations

The Pink Guitar: Writing as Feminist Practice (Modern and Contemporary Poetics)

See the best price to sell, buy, or rent books by DuPlessis, Rachel Blau. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by DuPlessis, Rachel Blau

See the best price to sell, buy, or rent books by DuPlessis, Rachel Blau. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers (Everywoman.)

H.D.: The Career of That Struggle (Key Women Writers)

H. D.: The Career of That Struggle (Key Women Writers)

Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers (Everywoman.)

The Pink Guitar: Writing as Feminist Practice

Genders, Races, and Religious Cultures in Modern American Poetry, 1908–1934 (Cambridge Studies in American Literature and Culture, Series Number 125)

Genders, Races, and Religious Cultures in Modern American Poetry, 1908–1934 (Cambridge Studies in American Literature and Culture, Series Number 125)

Blue Studios: Poetry and Its Cultural Work (Modern and Contemporary Poetics)

Blue Studios: Poetry and Its Cultural Work (Modern and Contemporary Poetics)

The Pink Guitar: Writing as Feminist Practice (Modern and Contemporary Poetics)