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Drafts 1-38, Toll, Paperback by Duplessis, Rachel Blau, Brand New, Free shipp...
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eBay-objectnummer:354951708420
Specificaties
- Objectstaat
- ISBN
- 9780819564856
- Book Title
- Drafts 1-38, Toll
- Book Series
- Wesleyan Poetry Ser.
- Publisher
- Wesleyan University Press
- Item Length
- 8.5 in
- Publication Year
- 2001
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.9 in
- Genre
- Poetry
- Topic
- General
- Item Weight
- 13.6 Oz
- Item Width
- 5.5 in
- Number of Pages
- 296 Pages
Over dit product
Product Identifiers
Publisher
Wesleyan University Press
ISBN-10
0819564850
ISBN-13
9780819564856
eBay Product ID (ePID)
1925023
Product Key Features
Book Title
Drafts 1-38, Toll
Number of Pages
296 Pages
Language
English
Topic
General
Publication Year
2001
Genre
Poetry
Book Series
Wesleyan Poetry Ser.
Format
Trade Paperback
Dimensions
Item Height
0.9 in
Item Weight
13.6 Oz
Item Length
8.5 in
Item Width
5.5 in
Additional Product Features
Intended Audience
Trade
LCCN
2001-003507
Reviews
"At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."-Publishers Weekly, "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."- Publishers Weekly, "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."-- Publishers Weekly "DuPlessis reinforces the subversive possibilities of modernist/projectivist field poetics by approaching page space as a register of the social dynamics, including the gender dynamics, of marginalization."--Lynn Keller, author of Forms of Expansion: Recent Long Poems by Women "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."-- Publishers Weekly "Rachel Blau DuPlessis does what all good poets must do: she crosses, and indeed transcends, boundaries...She has a masterful feel for form...and her ear can be astonishing. Her visual imagination is rich and her capacity for wordplay is considerable."--Robert Long, Philadelphia Inquirer, "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."--Publishers Weekly, "Rachel Blau DuPlessis does what all good poets must do: she crosses, and indeed transcends, boundaries...She has a masterful feel for form...and her ear can be astonishing. Her visual imagination is rich and her capacity for wordplay is considerable."-Robert Long, Philadelphia Inquirer, "Rachel Blau DuPlessis does what all good poets must do: she crosses, and indeed transcends, boundaries...She has a masterful feel for form...and her ear can be astonishing. Her visual imagination is rich and her capacity for wordplay is considerable."ÑRobert Long, Philadelphia Inquirer, "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."-- Publishers Weekly "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."-- Publishers Weekly "Rachel Blau DuPlessis does what all good poets must do: she crosses, and indeed transcends, boundaries...She has a masterful feel for form...and her ear can be astonishing. Her visual imagination is rich and her capacity for wordplay is considerable."--Robert Long, Philadelphia Inquirer, "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."-- Publishers Weekly "Rachel Blau DuPlessis does what all good poets must do: she crosses, and indeed transcends, boundaries...She has a masterful feel for form...and her ear can be astonishing. Her visual imagination is rich and her capacity for wordplay is considerable."--Robert Long, Philadelphia Inquirer, "DuPlessis reinforces the subversive possibilities of modernist/projectivist field poetics by approaching page space as a register of the social dynamics, including the gender dynamics, of marginalization."--Lynn Keller, author of Forms of Expansion: Recent Long Poems by Women ""DuPlessis reinforces the subversive possibilities of modernist/projectivist field poetics by approaching page space as a register of the social dynamics, including the gender dynamics, of marginalization.""--Lynn Keller, author of Forms of Expansion: Recent Long Poems by Women, "At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents."ÑPublishers Weekly, Rachel Blau DuPlessis does what all good poets must do: she crosses, and indeed transcends, boundaries...She has a masterful feel for form...and her ear can be astonishing. Her visual imagination is rich and her capacity for wordplay is considerable., At its best . . . the poem resembles A.R. Ammons's longer improvisations, with DuPlessis opening the mind's floodgates and finding the perfect rhythm for channeling its contents.
Dewey Edition
21
Dewey Decimal
811.54
Synopsis
In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which mimics memory and its losses, and which plays with the textures of memory, including its unexpectedness, its flashes and disappearances. Her recurrent motifs and materials include home, homelessness and exile; death and the memory of the dead; political grief and passion; silence, speech, the sayable and the ineffable. Drafts 1-38, Toll functions as a long poem comprised of 38 pieces, or drafts. These poems are conceived as autonomous "canto-like" sections that work on two procedural principles. One is the random repetition of lines or phrases across poems, a self-questioning, processual, and reconceptualizing strategy that honors the term "drafts." A second procedural principle is "the fold." This is the reconsideration of a "donor draft" and the deployment of some aspect in the donor draft in a related draft. The periodicity of this reconsideration is the number 19; hence drafts 1-19 make up the original layer, while drafts 20-38 constitute the first fold on top of this material., This book is one long poem in many sections. It is the "masterwork" of this avante garde poet, who has been working on this composition for a decade. In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which mimics memory and its losses, and which plays with the textures of memory, including its unexpectedness, its flashes and disappearances. Her recurrent motifs and materials include home, homelessness and exile; death and the memory of the dead; political grief and passion; silence, speech, the sayable and the ineffable. Drafts 1-38, Toll functions as a long poem comprised of 38 pieces, or drafts. These poems are conceived as autonomous "canto-like" sections that work on two procedural principles. One is the random repetition of lines or phrases across poems, a self-questioning, processual, and reconceptualizing strategy that honors the term "drafts." A second procedural principle is "the fold." This is the reconsideration of a "donor draft" and the deployment of some aspect in the donor draft in a related draft. The periodicity of this reconsideration is the number 19; hence drafts 1-19 make up the original layer, while drafts 20-38 constitute the first fold on top of this material., This book is one long poem in many sections. It is the "masterwork" of this avante garde poet, who has been working on this composition for a decade.
LC Classification Number
PS3554.U566D68 2001
Copyright Date
2001
ebay_catalog_id
4
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