Edinburgh University Press Material Poetics in Hemispheric America: Words and Objects 1950-2010

Reconsiders the lyrical norm that predominates in Anglophone accounts of poetry through a multilingual and transnational lens A bold project that departs from a tradition heavily dominated by the lyric to question the very nature of what counts as poetry. A visually exciting text that draws on poetry and art from a wide array of late twentieth and early twenty-first century practitioners. An interdisciplinary approach to poetry and poetics that opens new avenues for understanding how poetry intersects with philosophies of the object, media theory, and visual studies. A transnational frame that responds to a growing scholarly push to situate American studies within the broader context of the American hemisphere. This book examines poets and artists in the Americas during the late twentieth and early twenty-first centuries to show how they worked to make language into material objects and material objects into language. It builds a theory of 'material poetics' that provides an alternative account of poetry in hemispheric America. Rebecca Kosick argues that by reframing American poetry to prominently include object-oriented practices within and beyond the United States, material poetry can be seen as representing a significant branch of the American poetic tradition. From the Inside Flap This is an excellent and well-timed book on an important sub-tradition within hemispheric American poetries, which breaks new ground in the study of concrete and material poetries with clarity, confidence and a great deal of critical flair.Greg Thomas, author of Border Blurs: Concrete Poetry in England and Scotland (2019)Reconsiders the lyrical norm that predominates in Anglophone accounts of poetry through a multilingual and transnational lensThis book examines poets and artists in the Americas during the late twentieth and early twenty-first centuries to show how they worked to make language into material objects and material objects into language. It builds a theory of material poetics that provides an alternative account of poetry in hemispheric America. Rebecca Kosick argues that by reframing American poetry to prominently include object-oriented practices within and beyond the United States, material poetry can be seen as representing a significant branch of the American poetic tradition.Rebecca Kosick is Senior Lecturer in Translation in the Department of Hispanic, Portuguese, and Latin American Studies at the University of Bristol.Cover image: Metaesquema No. 348, Helio Oiticica, 1958, New York, Digitale 87 (1)(A) Museum of Modern Art (MoMA). Gouache on board, 18 1/8 x 22 3/4'(46 x 58 cm) © 2020. Digital image, The Museum of Modern Art, New York/Scala, FlorenceCover design:[EUP logo]edinburghuniversitypress.comISBN 978-1-4744-7460-3Barcode From the Back Cover 'This is an excellent and well-timed book on an important sub-tradition within hemispheric American poetries, which breaks new ground in the study of concrete and material poetries with clarity, confidence and a great deal of critical flair.' Greg Thomas, author of Border Blurs: Concrete Poetry in England and Scotland (2019) Reconsiders the lyrical norm that predominates in Anglophone accounts of poetry through a multilingual and transnational lens This book examines poets and artists in the Americas during the late twentieth and early twenty-first centuries to show how they worked to make language into material objects and material objects into language. It builds a theory of 'material poetics' that provides an alternative account of poetry in hemispheric America. Rebecca Kosick argues that by reframing American poetry to prominently include object-oriented practices within and beyond the United States, material poetry can be seen as representing a significant branch of the American poetic tradition. Rebecca Kosick is Senior Lecturer in Translation in the Department of Hispanic, Portuguese, and Latin American Studies at the University of Bristol. Co