The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture

Analyzes the art and artists of the futurist movement, focusing on its themes and background

Perloff, Marjorie

Arts & Photography

Univ of Chicago Pr

Infrathin: An Experiment in Micropoetics

Product Description 
Esteemed literary critic Marjorie Perloff reconsiders the nature of the poetic, examining its visual, grammatical, and sound components.\nThe “infrathin” was Marcel Duchamp’s playful name for the most minute shade of difference: that between the report of a gunshot and the appearance of the bullet hole, or between two objects in a series made from the same mold. “Eat” is not the same thing as “ate.” The poetic, Marjorie Perloff suggests, can best be understood as the language of infrathin. For in poetry, whether in verse or prose, words and phrases that are seemingly unrelated in ordinary discourse are realigned by means of sound, visual layout, etymology, grammar, and construction so as to “make it new.”\nIn her revisionist “micropoetics,” Perloff draws primarily on major modernist poets from Stein and Yeats to Beckett, suggesting that the usual emphasis on what this or that poem is “about,” does not do justice to its infrathin possibilities. From Goethe’s eight-line “Wanderer’s Night Song” to Eliot’s 
Four Quartets, to the minimalist lyric of Rae Armantrout, 
Infrathin is designed to challenge our current habits of reading and to answer the central question: what is it that makes poetry 
poetry? 
 Review \n“What is the difference between attending a botany seminar and immersing oneself in the forest in the company of a guide who passionately knows their flora and fauna? This is what one discovers by reading Perloff's 
Infrathin, an irresistible tour through the work of some of the main artisans of modernist and contemporary poetry, under the prism of an unusual mentor: Marcel Duchamp. A gift for lovers of the genre and a must-read for poets.” 
 ― 
André Vallias, poet and graphic designer\n“INFRA, not intra, and THIN, a split second so sliced, its instant infinity so spilt. Infra 
think with Duchamp and Co. to step into a whole new world of differential repetitions and serial departures across the world of modern(ist) art, especially poetry. Whether you just ‘think different’ or have already ‘done 
différance,’ as you continue to make your way through the al 
readymadeness of modern times so remade, you, too, with Marjorie Perloff, our go-to code-breaker here, will get this: how and why reading between the cracks, not just lines, matters.” 
 ― 
Kyoo Lee, author of 'Reading Descartes Otherwise'\n“This age of polarization needs those who build bridges—not necessarily to create unity or understanding, but to allow life-giving movement between thought and creativity. The impact of Perloff's impressive lifelong project becomes even clearer with this book: her refusal to let academic propriety constrain her and her determination to give her great intelligence free play and to follow her deepest enthusiasms. As a result, we have a book that will illuminate and give pleasure to both scholar and poet, wherever they might come from.” 
 ― 
Amit Chaudhuri, novelist, essayist, and musician 
 About the Author \nMarjorie Perloff is the Sadie Dernham Patek Professor of Humanities Emerita at Stanford University and the Florence R. Scott Professor of English Emerita at the University of Southern California. She is the author of many books, including 
Poetics in a New Key and 
Unoriginal Genius, also published by the University of Chicago Press.

History & Criticism

University of Chicago Press

Draws extensively upon the poet's unpublished manuscripts-poems, journals, essays, and letters-as well as all his published works. 234p. Frank O'Hara (1926-1966) was an American writer, poet and art critic. Because of his employment as a curator at the Museum of Modern Art, O'Hara became prominent in New York City's art world.

Frank O'Hara, Poet Among Painters

Literature & Fiction

Univ of Texas Pr

Ezra Pound termed a fresh strain in Post-Modernist poetry 'Logopoeia - the dance of the intellect among words', and in this collection of essays, Marjorie Perloff examines this fresh strain in poetics. These essays focus on the poetry of Swinburne, Yeats, Stevens, Joyce, Williams, Cage, and Pound, among others. Through her analyses, the author traces a distinct direction in Post-Modernist poetry to Pound, whose legacy is present throughout this volume, even in essays not specifically devoted to him. Professor Perloff finds that the Symbolist elements that Yeats rejected - fragments, purely metrical or visual impressions, and theoretical concepts - became increasingly important to later poets. She also argues that the Romantic and Modernist cult of the personality has given way to a denial of the authoritative ego. These developments, combined with other cultural influences which Perloff identifies, such as the art of the Italian Futurists, lead to a fresh strain in poetry.

The Dance of the Intellect: studies in Poetry of the Pound Tradition (Cambridge Studies in American Literature and Culture, Series Number 6)

Cambridge University Press

The description for this book, Poetics of Indeterminacy: Rimbaud to Cage, will be forthcoming.

Poetics of Indeterminacy

Reference

Princeton University Press

The poetic art of Robert Lowell

Cornell University Press

Drawing extensively upon the poet's unpublished manuscripts—poems, journals, essays, and letters—as well as all his published works, Marjorie Perloff presents Frank O'Hara as one of the central poets of the postwar period and an important critic of the visual arts. Perloff traces the poet's development through his early years at Harvard and his interest in French Dadaism and Surrealism to his later poems that fuse literary influence with elements from Abstract Expressionist painting, atonal music, and contemporary film. This edition contains a new Introduction addressing O'Hara's homosexuality, his attitudes toward racism, and changes in poetic climate cover the past few decades. "A groundbreaking study. [This book] is a genuine work of criticism. . . . Through Marjorie Perloff's book we see an O'Hara perhaps only his closer associates saw before: a poet fully aware of the traditions and techniques of his craft who, in a life tragically foreshortened, produced an adventurous if somewhat erratic body of American verse."—David Lenson, Chronicle of Higher Education "Perloff is a reliable, well-informed, discreet, sensitive . . . guide. . . . She is impressive in the way she deals with O'Hara's relationship to painters and paintings, and she does give first-rate readings of four major poems."—Jonathan Cott, New York Times Book Review

Frank O'Hara: Poet Among Painters

Biographies & Memoirs

Arts & Literature

George Braziller

In her seminal study, first published in 1981, Marjorie Perloff argues that the map of Modernist poetry needs to be redrawn to include a central tradition which cannot properly be situated within the Romantic-Symbolist tradition dominating the early twentieth century. She traces this tradition from its early "French connection" in the poetry of Rimbaud and Apollinaire as well as in Cubist, Dada, and early Surrealist painting; through its various manifestations in the work of Gertrude Stein, William Carlos Williams, and Ezra Pound; to such postmodern "landscapes without depth" as the French/English language constructions of Samuel Beckett, the elusive dreamscapes of John Ashbery, and the performance works of David Antin and John Cage.

The Poetics of Indeterminacy: Rimbaud to Cage

Northwestern Univ Pr

Poetic License: Essays on Modernist and Postmodernist Lyric

Essays & Correspondence

Northwestern University Press

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Books by Perloff, Marjorie