By Julie Carr,Jeffrey C. Robinson,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
According to editors July Carr and Jeffrey C. Robinson, “active romanticism” is a poetic reaction, direct or oblique, to urgent social matters and an try to redress varieties of ideological repression; at its middle, “active romanticism” champions democratic pluralism and confronts ideologies that suppress the proof 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 kinds of inequality and invisibility. No different assertion insists so vividly poetic occasion pushing for social growth calls for the unfettering of conventional, ordinary poetic shape and language.
Bringing jointly paintings via recognized writers and critics, starting from scholarly stories to poets’ testimonials, Active Romanticism exhibits Romantic poetry to not be the sclerotic corpse opposed to which the avant-garde reacted yet particularly the well-spring from which it flowed.
Offering a basic rethinking of the historical past of recent poetry, Carr and Robinson have grouped jointly during this assortment quite a few essays that verify the life of Romanticism as an ongoing mode of poetic construction that's leading 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 photograph: Ruckenfigur through Susan Bee, 2013, oil on linen, 24 x 30 in.
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