Close Listening: Poetry and the Performed Word (W.E.B. Du Bois Institute (Paperback)) 1st Edition by Charles Bernstein (PDF)

Description

Close 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.

User’s Reviews

Reviews from Amazon users which were colected at the time this book was published on the website:

⭐I can’t figure out how Bernstein and other editors make certain essay selections to become the spoken word guru scholars/editors. Marjorie Perloff’s essay is brilliant, nevertheless. Maybe the editor’s taste is past it or no longer relavent to a younger crowd, for the most part. I recommend

⭐for secondary material on this phenomenon. She takes a fresh look that seems more relevant. For those who want to “listen” to indispensable spoken word by a master of the genre Hedwig Gorski, tune into

⭐. A woman, yes, and that may be why old-schoolers are out of touch with what is really going on. This book by so-called performance poet Gorski

⭐does have a quote from the trans-generation Perloff on the back: “Delightful.” So between Gorski and Perloff, there may be hope for the old-schoolers yet.

⭐What do poetry slams have in common with traditional poetry readings?More than one may think.Close Listening, edited by Charles Bernstein, offers 17 perspectives on how contemporary poetry has been practiced as a performance art. Nearly ten years after its initial publication, this book remains fresh and stimulating.Much literary criticism has neglected the auditory and performance aspects of the poem, Bernstein writes. But a poem’s sound and its meaning are aspects of each other, neither prior, neither independent.This collection of essays argues against the assumption that a poem’s text is primary, while a poet’s performance of the poem is secondary, and fundamentally inconsequential to the “poem itself.” Bernstein observes that, in a poetry performance, explicit value is placed almost exclusively on the acoustic production of a single unaccompanied speaking voice.Contributors include Bruce Andrews, Marjorie Perloff, Ron Silliman, Susan Howe, and others; some performers in their own right.

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