Etymology tells us that “secret” also has to do with lines, since it comes from an Indo-European ro (...) From 1999-2012 I worked at The MacDowell Colony, the nation’s oldest artist colony, but I've also done time at an arts magazine, a library, an art museum, and a raptor rehabilitation center. In May of 2012 I left MacDowell to pursue writing, speaking, curating, and creative projects full-time. I’ve spent almost 20 years helping thousands of successful artists of all disciplines and working to make the arts more accessible. (One friend likes to call me “the arts enabler.”) Poet and artist Jen Bervin understands this tension between past and present, as well as between text and object, better than most. Her own art practice beautifully explores this interplay. Her 2004 book of modified Shakespearean sonnets, Nets, is a classic in the world of erasure poetry, and strips the bard’s famous lines “bare to the nets,” chiseling away at the familiar sentences to reveal surprising new poems.

Etymology tells us that “secret” also has to do with lines, since it comes from an Indo-European root word meaning “separate, cut off,” also to be found in “harvest” amongst others. One of Susan Howe’s earliest poetry sequences is entitled Secret History of the Dividing Line (Howe, 1996 87-122). There are some really standout poems to me in this but the sentence that hit me hardest was “I have no life but this to lead”, as if Emily from centuries away knows what I’m going through, what I’m thinking���. Maybe humans do have universal truths after all…. tender’ is given with the variant “sovereign” but written in the margin up the side of the paper is “unsuspecting carpenters”. Conjunctions of the Literary and the Philosophical in Twentieth- and Twenty-First-Century American Writing

La revue

Montgomery , Will. The Poetry of Susan Howe: History, Theology, Authority . London: Palgrave MacMillan, 2010. I smile when you suggest that I delay “to publish”—that being foreign to my thought, as Firmament to Fin. — Awareness of the importance of the opposition between metrical segmentation and semantic segmentation has led some scholars to state the thesis (which I share) according to which the possibility of enjambment constitutes the only criterion for distinguishing poetry from prose. For what is enjambment, if not the opposition of a metrical line to a syntactical limit, or a prosodic pause to a semantic pause? “Poetry” will then be the name given to the discourse in which this opposition is, at least virtually, possible; “prose” will be the name for the discourse in which this opposition cannot take place. (Agamben 109)

Hi)stories of American Women: Writings and Re-writings / Call and Answer: Dialoguing the American West in France A study of the line breaks in this corpus of texts should therefore take into consideration the interaction of several issues. Firstly, line breaks can no longer be a mere matter of poetics, more specifically of metrics, but are crucially determined by material constraints out of which a poetics of the line may emerge , a poetics that calls into question the role measured lines play in defining poetry; a poetics which particularly challenges the pivotal role of the line break as the primary mode of distinguishing verse from prose. In “The End of the Poem,” Giorgio Agamben has proposed a definition of poetry contra prose according to the line break as a superstructural characteristic:Published by New Directions, the book has the large format of an art book and the different element (...)

La busta postale è quella che contiene la lettera, è una sorta di scrigno, qualcosa che avviluppa, contiene, include qualche altra cosa.Loved this publication, the juxtaposition of the original letters and how they looked was marvellous and interesting especially as a historian and (aspiring) palaeographer, though I imagine even non-historians find it fascinating. Carpenter” clearly refers to Christ and “sovereign” certainly has a different connotation than “tender”. But why did she use “unsuspecting” in the margin? Is the implication that Jesus doesn’t actually know what is happening? Why the plural? Is it a slip or are there many “Carpenters” depending on the person and the suffering. For Proust,” Susan Howe writes in her Preface to The Gorgeous Nothings,“a fragment is a morsel of time in its pure state; it hovers between a present that is immediate and a past that once had been present.” Access-restricted-item true Addeddate 2022-10-24 06:01:21 Associated-names Werner, Marta L., 1964- transcriber; Bervin, Jen, transcriber Autocrop_version 0.0.14_books-20220331-0.2 Bookplateleaf 0002 Boxid IA40750502 Camera USB PTP Class Camera Collection_set printdisabled External-identifier

Lccn 2015047826 Ocr tesseract 5.2.0-1-gc42a Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8212 Ocr_module_version 0.0.18 Ocr_parameters -l eng Old_pallet IA-NS-1200429 Openlibrary_editionI dwell in Possibility –/A fairer House than Prose –” (J657, Fr466, M233). In a less optimistic perspective, they might also be seen as coffin builders. Passeurs de la littérature des États-Unis en France(1)/ L’héritage de Michel Foucault aux États-Unis Olson , Charles. “Projective Verse.” Collected Prose . Eds. Donald Allen and Benjamin Friedlander. Berkeley: University of California Press, 1997. Published by New Directions, the book has the large format of an art book and the different elements of its composition keep a fine balance between the visible and the legible, including for instance a “Visual index” classifying the envelopes according to their shapes. Poised on the limit between the two modes, Marta Werner’s transcripts of the facsimile manuscripts suggest how delicate their interactions can be, particularly by giving prominent visibility to the creases, folds and lines dividing the surfaces of the envelopes.