Recencies Series: Research and Recovery in Twentieth-Century American Poetics

The essays collected in both volumes of Evaluations of US Poetry since 1950 move away from esoteric literary criticism toward a more evaluative and speculative inquiry that will serve as the basis from which poets will be discussed and taught over the next half-century and beyond.

Horace speaks of poetry delighting and instructing. While Evaluations of US Poetry since 1950, Volume 1 explores the pleasures of poetry—its language, forms, and musicality—volume 2 focuses on the public dimensions.

In Modernist Poetry and the Limitations of Materialist Theory, Charles Altieri skillfully dissects the benefits and limitations of Materialist theory for works of art.

Expanding Authorship collects important essays by Peter Middleton that show the many ways in which, in a world of proliferating communications media, poetry-making is increasingly the work of agencies extending beyond that of a single, identifiable author.

The essays in this collection examine the breadth of Eigner’s interests and influence, considering issues pertaining to ecopoetics, race and ethnicity, disability, technology, media, soundscapes, phenomenology, and popular culture.

The letters collected in this volume are greatly enhanced by Eileen Myles’s preface and Stewart’s thorough introduction, notes, and brief bios of the poets, writers, artists, and editors with whom Wieners corresponded.

Conceived in 1976 and published in 1980, LEGEND exemplifies the political and linguistic commitments of then-nascent Language writing.

Bruce Andrews and Charles Bernstein’s L=A=N=G=U=A=G=E: The Complete Facsimile makes available in print all twelve of the newsletter’s original issues along with three supplementary issues.

Circling the Canon, Volume II focuses on the second half of Marjorie Perloff's prolific career, showcasing reviews from 1995 through her 2017 reconsiderations of Jonathan Culler’s theory of the lyric and William Empson’s classic Seven Types of Ambiguity.

Circling the Canon, Volume I covers roughly the first half of Perloff’s career, beginning with her first ever review, on Anthony Hecht’s The Hard Hours.