By Dr. Julie Carr, Jeffrey C. Robinson Ph.D., Dan Beachy-Quick, Jacques Darras, Rachel Blau DuPlessis, Judith Goldman, Simon Jarvis, Andrew Joron, Nigel Leask, Jennifer Moxley, Bob Perelman, Jerome Rothenberg, Elizabeth Willis, Heriberto Yépez

Literary historical past in general locates the first circulate towards poetic innovation in twentieth-century modernism, an impulse conducted opposed to a supposedly enervated “late-Romantic” poetry of the 19th century. the unique essays in Active Romanticism problem this interpretation via tracing the basic continuities among Romanticism’s poetic and political radicalism and the experimental activities in poetry from the late-nineteenth-century to the current day.
in accordance with editors July Carr and Jeffrey C. Robinson, “active romanticism” is a poetic reaction, direct or oblique, to urgent social concerns and an try to redress varieties of ideological repression; at its center, “active romanticism” champions democratic pluralism and confronts ideologies that suppress the facts of pluralism. “Poetry fetter’d, fetters the human race,” declared poet William Blake initially of the 19th century. No different assertion from the period of the French Revolution marks with such terseness the problem for poetry to take part within the liberation of human society from types of inequality and invisibility. No different assertion insists so vividly poetic occasion pushing for social growth calls for the unfettering of conventional, commonly used poetic shape and language.
Bringing jointly paintings through famous writers and critics, ranging from scholarly reviews to poets’ testimonials, Active Romanticism shows Romantic poetry to not be the sclerotic corpse opposed to which the avant-garde reacted yet really the well-spring from which it flowed.
supplying a basic rethinking of the heritage of contemporary poetry, Carr and Robinson have grouped jointly during this assortment a number of essays that make certain the life of Romanticism as an ongoing mode of poetic creation that's cutting edge and dynamic, a continuation of the nineteenth-century Romantic culture, and a sort that reacts and renews itself at any given second of perceived social crisis. Cover picture: Ruckenfigur via Susan Bee, 2013, oil on linen, 24 x 30 in.

Contributors: Dan Beachy-Quick / Julie Carr / Jacques Darras / Rachel Blau DuPlessis / Judith Goldman / Simon Jarvis / Andrew Joron / Nigel Leask / Jennifer Moxley / Bob Perelman / Jeffrey C. Robinson / Jerome Rothenberg / Elizabeth Willis / and Heriberto Yépez

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In many ways, my deep love for the Romantic resides in its refusal of easy definition. ” If only to give a sense of what these aspects of Romanticism are that undergird the higher hopes of this essay, I thought I might quickly reprise some necessary notions from Emerson’s work. The poet ceases to have a primary value as an individual; or, rather, has value as an in­di­vidual only insofar as that particular subjectivity garners access to consciousnesses not limited to his own. In this sense, the poet not only confronts and enters those others (both people and objects) in order to participate in a mutual naming, but in more radical ways, undermines individuality with a profound sense of poetic anonymity as creative source.

It brought back images from the peace movement of the Vietnam War era: in particular, the protestor placing a daisy into the muzzle of an Ameri­can rifle. How far was this daisy from Emily Dickinson’s Daisy, a woman surrounded by civil war? Was there a hyperlink between her “Master letters” and the masters of war? Between the vocabularies of theology and eros and battle? Had poetry acquiesced to its place within the collateral damage of the global theater? If real bodies were being cut down and going largely unacknowledged, wouldn’t the conscious mind of a poem, like Freud’s magic writing pad, have to reveal at least a trace of this reality?

If it vibrates in the pores of the wood then it vibrates in the pores of the skin, in the lacunae of the bones—our skin and our bones. The work of writing creates in oneself a musical tension by which another music may be heard. We sing to hear that other singing—a song that cannot be heard save against the music of our own voice. It is this genius that repairs us (this genius always imperfectly other), and repairs not only us, but our relation to the world we sing about. To hear it is to be changed by it.

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