Poetry. East Asia Studies. Translated from the Korean by Don Mee Choi. The celebrated Korean poet Kim Hyesoon writes from a radiant black zone where matter becomes dark matter, human becomes trinket, garbage becomes god, a zero-point for our present moment's grotesque and spectacular inversions. This volume includes a selection of recent work, the landmark poem "Manhole Humanity," and the essay "In the Oxymoronic World." With fiercely incisive translations and a preface by Don Mee Choi. "As garbage, love and death accumulate in her poems, your world will be changed for real " Aase Berg"
A text for practiced poets, this book offers a springboard beyond the basics into more daring poetic traditions, experimentation and methods. It lays out the myriad conversations influencing contemporary poetics, paying attention to its roots in historical and theoretical thinking. With a focus on innovation and breaking established boundaries, Advanced Poetry introduces you to the poetics shaping the contemporary literary moment, first guiding you through the contexts and principles of these forms using a range of practical examples, before prompting you to pick up the pen yourself. Spanning decades and continents, and covering the rich field of poets writing today, this book shows how to read, explicate, and write poetry and includes discussion of: - received traditions and innovative forms - confessional and epistolary poetry - aesthetic experimentation with voice - methods and theories developed by early Surrealists -deep image and the poetics of spells - ecopoetics & poetry of place - writing the body based on queer theory and disability studies - docupoetics and lyric research - racial imaginaries and poetics of liberation - digital poetics - writing in community with other poets and collaborative, interdisciplinary projects - revision processes and putting together a collection or chapbook -advice on writing artist statements and other professional materials Bringing together a comprehensive craft guide with a carefully collated anthology showcasing the (existing) limits of what is possible in poetry, this text explores how poetry since the 20th century has embraced traditional structures, borrowed from other disciplines, and invented wildly new forms. With close readings, writing prompts, excerpts of interviews from key figures in the field and a supplementary companion website, this is the definitive text for any poet looking to continue their poetic journey.
Can rubber trees, silicone dolls, corpses, soil, subatomic particles, designer shoes, and discarded computers become the protagonists of contemporary literature—and what does this tell us about the relationship between humans and objects? In Things with a History, Héctor Hoyos argues that the roles of objects in recent Latin American fiction offer a way to integrate materialisms old and new, transforming our understanding of how things shape social and political relations. Discussing contemporary authors including Roberto Bolaño, Ariel Magnus, César Aira, and Blanca Wiethüchter as well as classic writers such as Fernando Ortiz and José Eustasio Rivera, Hoyos considers how Latin American literature has cast things as repositories of history, with an emphasis on the radically transformed circulation of artifacts under globalization. He traces a tradition of thought, transcultural materialism, that draws from the capacity of literary language to defamiliarize our place within the tangible world. Hoyos contrasts new materialisms with historical-materialist approaches, exposing how recent tendencies sometimes sidestep concepts such as primitive accumulation, commodity fetishism, and conspicuous consumption, which have been central to Latin American history and literature. He contends that an integrative approach informed by both historical and new materialisms can balance seeing things as a means to reveal the true nature of social relations with appraisals of things in their autonomy. Things with a History simultaneously offers a sweeping account of the material turn in recent Latin American culture and reinvigorates social theory and cultural critique.
How can we talk about World Literature if we do not actually examine the world as a whole? Research on World Literature commonly focuses on the dynamics of a western center and a southern periphery, ignoring the fact that numerous literary relationships exist beyond these established constellations of thinking and reading within the Global South. Re-Mapping World Literature suggests a different approach that aims to investigate new navigational tools that extend beyond the known poles and meridians of current literary maps. Using the example of Latin American literatures, this study provides innovative insights into the literary modeling of shared historical experiences, epistemological crosscurrents, and book market processes within the Global South which thus far have received scant attention. The contributions to this volume, from renowned scholars in the fields of World and Latin American literatures, assess travelling aesthetics and genres, processes of translation and circulation of literary works, as well as the complex epistemological entanglements and shared worldviews between Latin America, Africa and Asia. A timely book that embraces highly innovative perspectives, it will be a must-read for all scholars involved in the field of the global dimensions of literature.
This collection of essays discusses genre fiction and film within the discursive framework of the environmental humanities and analyses the convergent themes of spatiality, climate change, and related anxieties concerning the future of human affairs, as crucial for any understanding of current forms of “weird” and “fantastic” literature and culture. Given their focus on the culturally marginal, unknown, and “other,” these genres figure as diagnostic modes of storytelling, outlining the latent anxieties and social dynamics that define a culture’s “structure of feeling” at a given historical moment. The contributions in this volume map the long and continuous tradition of weird and fantastic fiction as a seismograph for eco-geographical turmoil from the nineteenth to the twenty-first century, offering innovative and insightful ecocritical readings of H. P. Lovecraft, Harriet Prescott Spofford, China Miéville, N. K. Jemisin, Thomas Ligotti, and Jeff VanderMeer, among others.
Following the convening of IPNHK 2015, Poetry and Conflict presents works by worldacclaimed poets from wartroubled countries in the past such as the United States (Anne Waldman, Peter Cole), Japan (Yoko Tawada, Noriko Mizuta), South Korea (Kim Hyesoon), Macedonia (Nikola Madzirov), Catalonia (Gemma Gorga), Portugal (Fernando Pinto do Amaral), Burma (ko ko thett), Morroco (Mohammed Bennis), China (Wang Xiaoni), Taiwan (Chen Li), Hong Kong (Lau Yeeching), and those of today such as Israel (Agi Mishol) and Palestine (Ghassan Zaqtan, Najwan Darwish). The collection makes a treasured contemporary poetry anthology in trilingual or bilingual presentation.
At the intersection of translation studies and Latin American literary studies, The Translator's Visibility examines contemporary novels by a cohort of writers – including prominent figures such as Cristina Rivera Garza, César Aira, Mario Bellatin, Valeria Luiselli, and Luis Fernando Verissimo – who foreground translation in their narratives. Drawing on Latin America's long tradition of critical and creative engagement of translation, these novels explicitly, visibly, use major tropes of translation theory – such as gendered and spatialized metaphors for the practice, and the concept of untranslatability – to challenge the strictures of intellectual property and propriety while shifting asymmetries of discursive authority, above all between the original as a privileged repository of meaning and translation as its hollow emulation. In this way, The Translator's Visibility show that translation not only serves to renew national literatures through an exchange of ideas and forms; when rendered visible, it can help us reimagine the terms according to which those exchanges take place. Ultimately, it is a book about language and power: not only the ways in which power wields language, but also the ways in which language can be used to unseat power.
Kim Hyesoon’s poems “create a seething, imaginative under-and over-world where myth and politics, the everyday and the fabulous, bleed into each other” (Sean O’Brien, The Independent) *Winner of The Griffin International Poetry Prize and the Lucien Stryk Asian Translation Award* The title section of Kim Hyesoon’s powerful new book, Autobiography of Death, consists of forty-nine poems, each poem representing a single day during which the spirit roams after death before it enters the cycle of reincarnation. The poems not only give voice to those who met unjust deaths during Korea’s violent contemporary history, but also unveil what Kim calls “the structure of death, that we remain living in.” Autobiography of Death, Kim’s most compelling work to date, at once reenacts trauma and narrates our historical death—how we have died and how we survive within this cyclical structure. In this sea of mirrors, the plural “you” speaks as a body of multitudes that has been beaten, bombed, and buried many times over by history. The volume concludes on the other side of the mirror with “Face of Rhythm,” a poem about individual pain, illness, and meditation.
