"‘The review of struggle to fix the sense’: Speculations on Commentary and J.H. Prynne" Abstract: The commentaries of the Cambridge poet-scholar, J.H. Prynne, represent a renovation of commentary as critical practice in English studies. Neither their interdisciplinarity nor their density is unique; critics as different as Erich Auerbach, Giorgio Agamben, Helen Vendler, and Jacques Derrida … Continue reading Abstract for Essay on Prynne, Philology, and Commentary
David Herd wrote a concise and elegant review of the Collected Letters of Charles Olson and J.H. Prynne in the Times Literary Supplement (Aug. 1, 2018). Prynne’s commitment to Maximus, and to the sense of human relation it ultimately sought to make possible, couldn’t be doubted. Catching Olson in medias res, what the correspondence quickly comes to … Continue reading David Herd reviews Collected Letters in TLS
Patrick James Dunagan reviews The Collected Letters of Charles Olson and J.H. Prynne in the latest summer edition of Rain Taxi (23:2, #90), which you can find here. He also reviews two Duncan/Olson texts: An Open Map: The Correspondence of Robert Duncan and Charles Olson and Imagining Persons: Robert Duncan’s Lectures on Charles Olson, both edited by Robert J. Bertholf … Continue reading Rain Taxi review of Olson and Prynne Letters
EXCITED to announce the publication of this tiny poetry book, The Last Shyness, now out from Face Press (run by Ian Heames out of Oxford, UK). It's small in stature and risograph printed on Conqueror laid paper, with a letterpressed wrapper. 27 flowing sestets. UK people will be able to purchase from Face Press SOON … Continue reading The Last Shyness NOW OUT
Marianne Moore’s indictment of her own craft remains to this day a shrewd affront to critical exegesis. Piqued by ‘the immovable critic’, she treads a fine line in ‘Poetry’ between approbation and displeasure, a feeling entangled in the confession that ‘we do not admire what / we cannot understand’. Notwithstanding her penchant for axioms of this sort, Moore inclines elsewhere to a mode of expression that is dense, riddling and allusive; a poetics fit for sustained ‘inspection’, perhaps, but one whose fluid textual condition also resists ‘high sounding interpretation’. Given Moore’s tendency to revise published material – shuffling, redacting, reworking, restoring – it has often been difficult to say what ‘all this fiddle’ amounts to.
In taking Moore’s doubts about interpretation seriously, this special issue of Glossator proposes a broad approach to her verse and the stylistics of commentary. Glossing, annotating, doodling, and footnoting – Moore was always sensitive to…
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