scholarly journals «Roundabout I-VI» de Martín Gubbins o dos lecturas de lo ilegible

2016 ◽  
Vol 8 (2) ◽  
pp. 339-351
Author(s):  
Alethia Alfonso
Keyword(s):  
Ezra Pound ◽  
William Carlos Williams ◽  
Alain Badiou ◽  
British Poetry

En este artículo planteo la relación que existe entre algunos postulados de Eric Mottram, uno de los iniciadores de British Poetry Revival, con la poesía de Martín Gubbins. Abogo por abrir las posibilidades de influencia anglosajona más allá de los conocidos Ezra Pound y William Carlos Williams. Además, busco entender qué sucede con el sujeto en poéticas contemporáneas predominantemente visuales y performativas. Por último, esbozo una noción de la relación que poemas como «Roundabout I-VI» de Gubbins tienen con la (in)estética según Alain Badiou.

Readies for Bob Brown's Machine

2020 ◽  
Author(s):  
Robert Carlton Brown
Keyword(s):  
Text Messaging ◽  
Gertrude Stein ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
Public Attention ◽  
Avant Garde ◽  
Internet Media ◽  
Facsimile Edition ◽  
Viewing Screen ◽  
Writing Technology

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.

Cutting-Edge Poetics: Roy Fisher's 'Language Book'

2000 ◽  
pp. 149-172
Author(s):  
Marjorie Perloff
Keyword(s):  
William Carlos Williams ◽  
Cutting Edge ◽  
Language Form ◽  
British Poetry ◽  
American Poet

Chapter six, written by Marjorie Perloff, focuses on the patterns in language, form and structure found in Fisher’s The Cut Pages. Perloff describes the uniqueness of the collection and defines its status as ahead of its time within both the American and British poetry sphere. Perloff additionally points out the potential insularity of Fisher’s poetry and outlines the difficulties he faced when attempting to bring in an American audience. The chapter also comments on Fisher’s prose and makes comparison to the American poet, William Carlos Williams.

Ghosts in the Machine Age: Rose and Bob Brown’s Reading Machines and the Socio-Technics of Social Change

2020 ◽  
pp. 162-213
Author(s):  
Eric B. White
Keyword(s):  
New York ◽  
Cultural Production ◽  
Mass Culture ◽  
Gertrude Stein ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
Ivory Tower ◽  
Class Politics ◽  
Machine Age ◽  
The Great Depression

Chapter 4 begins at the point at which the Bob and Rose Brown’s ‘readies’ project supposedly failed: after the Readies for Bob Brown’s Machine anthology was published in 1931. Featuring experimental texts by Ezra Pound, Gertrude Stein, William Carlos Williams and many others, the readies project has hitherto been considered one of many modernist casualties of the Great Depression. This chapter finally reveals its full story, and details how Rose Brown led the development of a new working reading machine in the 1930s and beyond. Anthology contributors including James T. Farrell, Norman MacLeod and the Browns had begun to chart a course beyond the binary orbits of dour social realism and ‘ivory-tower’ aestheticism. The chapter combines new readings of these American super-realist writers with extensive archival research using a meta-formational approach, which relies on (rather than is undermined by) different disciplinary approaches to cultural production. Reconstructing the Browns’ journey from the rural labour institute Commonwealth College to the Polytechnic Museums of Russia – from the burgeoning microfilm industry in New York City to their plantation in Brazil – it reveals how the Browns’ proletarian class politics and Veblenist technicities articulate a sustained and dialogic engagement between modernist vanguards and mass culture.

There Is Always Others

2017 ◽  
Author(s):  
John Timberman Newcomb
Keyword(s):  
Ezra Pound ◽  
American Poetry ◽  
William Carlos Williams ◽  
Social Dimension ◽  
Poetic Form ◽  
Marianne Moore ◽  
Industrial Modernity ◽  
The Masses

This chapter examines how the experimental verse of Others, the quintessential aestheticist-modernist little magazine of American poetry, emerges from and responds to the climate of metropolitan activism that links it to The Masses. Others, published between July 1915 and July 1919 by Alfred Kreymborg and various friends, published works by such distinguished poets such as Ezra Pound, T. S. Eliot, William Carlos Williams, Marianne Moore, and Carl Sandburg. This chapter argues that Others's commitment to stylistic experimentalism possessed a strong social dimension by showing how its verses addressed the conditions of urban-industrial modernity. It also describes the magazine's poetics of modernity as it extends across three interdependent registers: formal, thematic, and metapoetic. Finally, it discusses Others's contribution to the expansion of modern poetic form by cultivating a distinctive innovation, the vers libre variation sequence.

‘Which is the American?’: Themes, Techniques, and Meaning in William Carlos Williams's Three Novels

1972 ◽  
Vol 6 (2) ◽  
pp. 189-200
Author(s):  
John C. Davies
Keyword(s):  
Ezra Pound ◽  
William Carlos Williams ◽  
Close Attention ◽  
Resident Alien ◽  
Definition Of

In 1928 Ezra Pound described William Carlos Williams as an ‘observant foreigner’ who ‘starts where an European would start if an European were about to write of America: sic: America is a subject of interest, one must inspect it, analyse it, and treat it as subject.’ If Pound was right, Williams was a native-born outsider, a life-long resident alien giving America the serious attention of his life's work. The detachment and close attention noted by Pound as originating in Williams's sense of his own ‘foreignness’ (a sense which Williams obliquely admitted by his insertion of a relevant letter of Pound in the ‘Prologue’ to Kora in Hell), are constants in Williams's work. Both the Imagist and Objectivist phases of his career show his determination to capture in words ‘the local fully realized’ – Williams's definition of ‘the classic’. In his trilogy of novels, his exploration of ‘the local’, ‘the only thing that is universal’ is shown both in theme and technique.

scholarly journals The Status of William Carlos Williams in American Modernism

2016 ◽  
Vol 3 (2) ◽  
pp. 54-63
Author(s):  
Laleh Atashi
Keyword(s):  
Popular Culture ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
American Identity ◽  
Critical Survey ◽  
Literary Production ◽  
American Modernism ◽  
American Poet ◽  
The Status ◽  
Poetic Diction

Abstract William Carlos Williams was an American poet who renounced poetic diction in favor of the unpoetic, establishing himself in American Modernism as a powerful voice distinct from such canonical contemporaries as T.S. Eliot and Ezra Pound. His attitude towards literary production was different from many of his contemporaries in that he believed ‘the idea is in the thing’ and therefore the presence of objects rather than abstractions is strongly felt in his poems. A critical survey of Williams’ poems indicates that the poet/physician observes, describes and levels criticism at his society where modernism has transformed the American identity in significant ways. In this article, American icons and popular culture are retraced in the poetry of William Carlos Williams in an effort to explain the seeming opacity of his poems.

scholarly journals Tidens rytmik

2006 ◽  
Vol 34 (102) ◽  
pp. 108-128
Author(s):  
Jakob Stougaard-Nielsen
Keyword(s):  
Dante Alighieri ◽  
Ezra Pound ◽  
Albert Einstein ◽  
William Carlos Williams ◽  
Free Verse ◽  
Poetic Form ◽  
Speech Rhythm ◽  
Poetic Voice ◽  
Michel Serres ◽  
Modern Age

Dante Alighieri, William Carlos Williams’ prosodi og Michel Serres Rhythm of TimeThe article discusses William Carlos Williams’s poetics and his particular conception of a modern prosody as expressed in the essay »Speech Rhythm« (1913) and as materialized in his experiments with a poetic form he himself termed »the variable foot« in »the triadic verse«. The article suggests that Williams’s poetics should be conceived as both an attempt to reinvigorate a typographically governed poetic language, his reaction to free verse, and as a larger figure for a poetic project which attempts to offer a poetic form to an unruly American idiom. Additionally, Williams’s new poetic measure is considered as an attempt to produce a poetic voice that could capture the rhythms and temporalities suggested by the modern age. Williams’s poetics present, then, a conflation of poetic scheme and trope, of prosody and anthropology, and are presented here as in tune with Ezra Pound, George Antheil, Albert Einstein and Michel Serres’ aesthetic and scientific abstractions of temporality. Williams’s poetic experiments offer a new measure for a modern »time«.

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