By Rae Armantrout
What do "self" and "it" have in universal? In Rae Armantrout's new poems, there's no inert substance. Self and it (word and particle) are ritual and rigmarole, song-and-dance and lengthy distance name into no matter what darkish subject could exist. How may possibly a self now not be egocentric? Armantrout accesses the strangeness of daily incidence with wit, sensuality, and a watch alert to underlying trauma, as within the poem "Price Points" the place a guy conducts an imaginary orchestra yet "gets no issues for originality." of their investigations of the cosmically mundane, Armantrout's poems use a unprecedented microscopic lens—even whilst she's glancing backwards from the outer reaches of house.
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Extra info for Itself (Wesleyan Poetry Series)
Tate, ‘Interview (1979)’, Route 98. Gioia, ‘James Tate and American Surrealism’: 79. ‘A fair shake or a chocolate shake’: The Difficulty of Reading James Tate 37 While all of this brings me to structure this first monograph as a thematic study, the fact that his recent work is so very indicative of a late period, means this study aims to have it both ways. In the first four chapters I’ll be exploring the work of 1967–1997, but the book’s final chapter will be dedicated to recent work post-2000.
Also, see Tate, ‘Interview (1979)’, Route 99. Tate, interview, American Poetry Observed: 253. ’4 Again, to cite ‘Absences’: ‘The eye wants to sleep / but the head is no mattress’ (ABS 31). 5 The serious and philosophical implications of Tate’s work can be hard to assume, primarily because his work is so unassuming; it professes to be of ‘no great moment’, as we’ll read in the first poem under discussion (‘Happy As the Day Is Long’, WCF 82). 6 One wouldn’t expect Deleuze to cite Tate, of course, but his introduction seems to grant permission for exactly this sort of summative study.
Certainly, Tate falls under the terms used by Donald Allen and George Butterick in the preface to their 1982 anthology, The Postmoderns: The New American Poetry Revised, and the terms used by Paul Hoover in his 1994 Norton anthology, Postmodern American Poetry. Allen and Butterick write: These poets have taken advantage of the gains of imagism and surrealism, the chief accomplishments of poetic modernism […]. ’59 Tate’s practice of these aesthetic dimensions, as well as his concern with breaking down the barrier between high art and culture, and popular (or commercial) art and culture, would seem to support his inclusion under the postmodern rubric.
Itself (Wesleyan Poetry Series) by Rae Armantrout