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The first major Jewish poet in America and a key figure of the Objectivist movement, Charles Reznikoff was a crucial link between the generation of Pound and Williams, and the more radical modernists

The first major Jewish poet in America and a key figure of the Objectivist movement, Charles Reznikoff was a crucial link between the generation of Pound and Williams, and the more radical modernists

Some of the most innovative works of poetry and art in the postwar period (1945–1970) engaged in a "contextual practice"—both a way of making art and a new relationship between art and li

Poet's Prose is the first scholarly work devoted exclusively to American prose poetry and has been recognised as a pioneering study in contemporary American poetry. Many recent American poets have been writing prose; Fredman has set out to determine why and what it means. Three central works of American poets' prose are discussed in detail: William Carlos Williams' Kora in Hell, Robert Creeley's Presences, and John Ashbery's Three Poems. In these chapters, Fredman both demonstrates how to read these difficult works and examines their philosophical seriousness. In a final chapter and a new epilogue, he discusses the newest trends in contemporary poetry, the 'talk poems' of David Antin and the prose of the Language poets, in which poet's prose forms an important aspect of the 'theoretical poetry' now being written.

Stephen Fredman asserts in his work that American poetry is groundless - that each generation of American poets faces the problem of identity anew and has to discover fresh meaning for itself. His argument focuses on four pairs of poets - Eliot/Williams, Thoreau/Olson, Emerson/Duncan and Whitman/Creeley - and points out that although the later ones all were influenced by their predecessors to some extent, ultimately their poetry is, paradoxically, grounded in an essential groundlessness. In order to demonstrate how approaches to groundlessness have persisted over time, Fredman explores the various measures taken by these American poets to provide a provisional ground upon which to construct their poetry: inventing idiosyncratic traditions, forming poetic communities, engaging in polemical prose, assessing all the dimensions of particular places and treating words as emblematic and mysterious objects. At the very core of the book stands Charles Olson, whose work so dramatically

Poet's Prose is the first scholarly work devoted exclusively to American prose poetry and has been recognised as a pioneering study in contemporary American poetry. Many recent American poets have been writing prose; Fredman has set out to determine why and what it means. Three central works of American poets' prose are discussed in detail: William Carlos Williams' Kora in Hell, Robert Creeley's Presences, and John Ashbery's Three Poems. In these chapters, Fredman both demonstrates how to read these difficult works and examines their philosophical seriousness. In a final chapter and a new epilogue, he discusses the newest trends in contemporary poetry, the 'talk poems' of David Antin and the prose of the Language poets, in which poet's prose forms an important aspect of the 'theoretical poetry' now being written.

In this book editor Stephen Fredman provides critical introductions to a selection of talk poems from Antin's now out-of-print collections in conjunction with a new interview with the author.

By any measure—international reputation, influence upon fellow writers and later generations, number of books published, scholarly and critical attention—Robert Creeley (1926–2005) is a literary giant

First published in 1976, this beautiful, interactive collaboration is a unique work of book art in which Marisol's monumental pop-art sculptures face the blocks of Creeley's prose poems. The new intro

This collection is an in-depth exploration of a central contemporary American poet with links to many key literary movements. The book provides a sweeping intellectual survey of modernism, postmoderni