Close Listening: Poetry and the Performed Word Review

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Close Listening: Poetry and the Performed Word Review*
From the publisher:
Close Listening and the Performed Word brings together seventeen essays, especially written for this volume, on the poetry reading, the sounds of poetry, and the visual performance of poetry. While the performance of poetry is as old as poetry itself, critical attention to modern and postmodern poetry performance has been negligible. This collection opens many new avenues for the critical discussion of the sound and performance of poetry, with special attention to innovative work. More important, the essays collected here offer wide-ranging elucidations of how twentieth-century poetry has been practiced as a performance art. The contributors cover topics that range from the performance styles of individual poets and types of poetry to the relation of sound to meaning, from historical and social approaches to poetry readings and to new imaginations of prosody. Such approaches are intended to encourage new forms of "close listenings"--not only to the printed text of poems, but also to tapes, performances, and other expressions of the sounded word. With readings and "spoken word" events gaining an increasing audience for poetry, Close Listening provides an indispensable critical groundwork for understanding the importance of language in--and as--performance.
Contents: Charles Bernstein, Introduction
Sound's Measures
Susan Stewart, Letter on Sound
Nick Piombino, The Aural Ellipsis and the Nature of Listening in Contemporary Poetry
Bruce Andrews, Praxis: A Political Economy of Noise and Informalism
Marjorie Perloff, After Free-Verse: The New Non-Linear Poetries
Susan Howe, Either/Ether
Performing Words
Johanna Drucker, Visual Performance of the Poetic Text Steve McCaffery, Voice in Extremis
Dennis Tedlock, Toward a Poetics of Polyphony and Translatability
Bob Perelman, Speech Effects: The Talk as Genre
Peter Quartermain, Sound Reading
Close Hearings / Historical Settings
Jed Rasula, Understanding the Sound of Not Understanding
Peter Middleton, The Contemporary Poetry Reading
Lorenzo Thomas, Neon Griot: The Functional Role of Poetry Readings in the Black Arts Movement
Maria Damon, Was that "Different," "Dissident" or "Dissonant"? Poetry (n) the Public Speak: Slams, Open Readings and Dissident Traditions
Susan Schultz, Local Vocals: Hawai'i's Pidgin Literature, Performance, and Postcoloniality
Afterword
Ron Silliman, Who Speaks: Ventriloquism and the Self in the Poetry ReadingClose Listening: Poetry and the Performed Word OverviewClose Listening brings together seventeen strikingly original essays, especially written for this volume, on the poetry reading, the sound of poetry, and the visual performance of poetry. While the performance of poetry is as old as poetry itself, critical attention to modern and postmodern poetry performance has been surprisingly slight. This volume, featuring work by critics and poets such as Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe, is the first comprehensive introduction to the ways in which twentieth-century poetry has been practiced as a performance art. From the performance styles of individual poets and types of poetry to the relation of sound to meaning, from historical and social approaches to poetry readings to new imaginations of prosody, the entries gathered here investigate a compelling range of topics for anyone interested in poetry. Taken together, these essays encourage new forms of "close listenings"--not only to the printed text of poems but also to tapes, performances, and other expressions of the sounded and visualized word. The time is right for such a volume: with readings, spoken word events, and the Web gaining an increasing audience for poetry, Close Listening opens a number of new avenues for the critical discussion of the sound and performance of poetry.

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