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The Feeling Sonnets
The Feeling Sonnets are written in an English that is translingual not only because it engages other languages but also because it reflects upon itself in uncertainty as if it were the work of a language learner. Words, idioms, sentences, poetic conventions are made strange, dislocated, recontextualised to convey some of the linguistic effects of the migration experience, the experience of non-nativeness. The book includes four cycles of fourteen unrhymed, unmetered, logically Petrarchan sonnets. The first cycle asks about the relationship between interpretation and emotion: whether 'we feel the feelings that we call ours'. The second, mainly composed of 'daughter sonnets', describes bringin...
Uljana Wolf
Against highly current debates on multilingual literary production, this original study of the acclaimed contemporary poet-translator Uljana Wolf considers how lyric verse is being creatively revitalised through experimental practices across languages, genres and media. Based in Berlin and New York, Wolf is concerned to explore and contest political and linguistic borders through poetry and translation as a poetic practice. Despite considerable critical acclaim, Wolf’s writing has not yet formed the subject of any book-length study, likely due to its radical form and resistance to straightforward categorisations. This English-language volume will form the first published collection dedicat...
Noughtbook
None
Alexander Vvedensky: An Invitation for Me to Think
“Pussy Riot are Vvedensky's disciples and his heirs. Katya, Masha, and I are in jail but I don’t consider that we’ve been defeated.... According to the official report, Alexander Vvedensky died on December 20, 1941. We don’t know the cause, whether it was dysentery in the train after his arrest or a bullet from a guard. It was somewhere on the railway line between Voronezh and Kazan. His principle of ‘bad rhythm’ is our own. He wrote: ‘It happens that two rhythms will come into your head, a good one and a bad one and I choose the bad one. It will be the right one.’ ... It is believed that the OBERIU dissidents are dead, but they live on. They are persecuted but they do not di...
Avant-Garde Post–
Avant-Garde Post– follows seven Russophone poets as they reinvigorate leftist art in the wake of state socialism. Rejecting both the Putin regime—with its selective mobilizations of Soviet nostalgia—and Western discourses of liberal superiority, this circle is reviving class-based critique through experimental forms and global collaborations.
OBERIU
It was a movement so artfully anarchic, and so quickly suppressed, that readers only began to discover its strange and singular brilliance three decades after it was extinguished-and then only in samizdat and emigre publications.
Eugene Timerman
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Iterature
Poetry. "Eugene Ostashevsky combines elements of the Russian Absurdists with a very contemporary and very American performance idiom. The result is a poetry at once witty, incantatory and slyly subversive. And a great, careening ride..."--Michael Palmer. "Eugene Ostashevsky's Iterature goes out of its way not to be too careful, reveling in off-rhyme, visual rhyme, and any other method of linguistic play that might push the poet's language to the border of nonsense--or worse, incompetence. [...] A subterranean non-English grammar inform[s] his choices. [...] Not quite defeatist, he turns a wry, self-deprecating eye on everything and goes out of his way to dispel gravity"--Brian Kim Stefans in The Boston Review.
The Snakes That Ate Florida
Selected pieces on nature, history, politics, and urban culture from a master of the nonfiction narrative. Writing on subjects as divergent as the mega-fires that burned the grasslands of the Great Plains in 2018, the tragic secret life of the manufacturer of maraschino cherries, the world’s largest beaver dam, and the invasive Burmese pythons of the Florida Everglades, Ian Frazier captures the multiplicity, the strangeness, and the wonder of contemporary life. This collection of pieces—consisting of features and reportage for The New Yorker beginning in 1970, articles on topics such as COVID and rereading Lolita fifty years later, and work published in the last year—showcases the wide-ranging play of Frazier’s imagination. Astute and engaged, he is the supreme chronicler of the everyday, a kind of social and political anthropologist. Fifty years of keen observation and irrepressible curiosity come together in The Snakes That Ate Florida, establishing Frazier as nothing less than the greatest practitioner of the form.
