The kings sponsored culture a few centuries back, and still, the poets transcended the framework and have produced immortal verses. Now the consumer sponsors culture, and still, the artist transcends the rigid framework of market conditions. A Poetic Encounter with Identity speaks about Tamil consciousness as exemplified by popular culture. It is an attempt to re-understand these areas of thought from the perspective of popular culture. Viewers and readers decide the sale of movies and books; the creative genius of the artist decides art’s longevity. Even under rigid circumstances, art survives. States use popular culture as a tool for communicating their ideologies in a democratic government, as scholars argue. Tamil Nadu’s intellectual legacy stays behind the popular electorate, and its embedded ideologies and thought processes are the continuations of the great Tamil classical tradition – it can be assumed. It directs the philosophical writings too. Its desire for urbanisation and industrialisation reflects the people’s policies. Tamil Nadu accommodated a variety of aggressive approaches to its language, culture and social structure from various quarters. The multiple nuances in its expressions show us how the state has dealt with colonialism, nationalism and globalisation.

Is American vision implicitly possessive, as a generation of critics contends? By viewing the American poetic tradition through the prism of pragmatism, Elisa New contests this claim. A new reading of how poetry "sees," her work is a passionate defense of the power of the poem, the ethics of perception, and the broader possibilities of American sight. American poems see more fully, and less invasively, than accounts of American literature as an inscription of imperial national ideology would allow. Moreover, New argues, their ways of seeing draw on, and develop, a vigorous mode of national representation alternative to the appropriative sort found in the quintessential American genre of encounter, the romance. Grounding her readings of Dickinson, Frost, Moore, and Williams in foundational texts by Edwards, Jefferson, Audubon, and Thoreau, New shows how varieties of attentiveness and solicitude cultivated in the early literature are realized in later poetry. She then discloses how these ideas infuse the philosophical notions about pragmatic experience codified by Emerson, James, and Dewey. As these philosophers insisted, and as New's readings prove, art is where the experience of experience can be had: to read, as to write, a poem is to let the line guide one's way.

Poetic Encounters in the Americas: Remarkable Bridge examines the ways in which U.S. and Latin American modernist canons have been in cross-cultural, mutually enabling conversation, especially through the act of literary translation. Examining eighteen U.S. and Latin American poets, my book is one of the few works of criticism to present case studies in U.S. and Latin American poetries in dialogues that highlight the social life and imaginative encounters obtained through methodologies of translation and innovations in poetic technique.

Encounters with Paul Celan's Poetry: The Other's Time consists of encounters: with poetry, with its readers, and with the other that poetry seeks to encounter. What does it mean, when Celan insists that every real encounter, every true encounter happens in memory of the poetic encounter, the secret of the encounter? This book presents close readings of various poems, often attempting textual and intellectual dialogue with philosophers who read Celan or who were read by Celan, such as Jacques Derrida, Werner Hamacher, Edmund Husserl, Hans-Georg Gadamer, and Maurice Merleau-Ponty.

"These poems know a great deal about beauty and violence: 'twenty years / was about as much good as / circling / a black eye'. Kylie Gellatly shows us what vividness is, how it lives in our shapes, our pain, our imaginary (and real) selves: 'man taken / to be a trench / that might have been a cannon ball'. This poetry composes musics with silences. It is both a song and whisper, an erasure and exhalation. It is both a journey across us, and inward: 'the ship was the rib of reason / [...] the ship was beginning to be an alarm / the ship was right there on the floor while this book was written.' Herein history is envious of a dreamscape. And yet: the dream aspires to be dailiness, and fears it. Which is to say: this is a book of fevers the likes of which you feel most familiar with, yet have not seen before. Recognize yourself in them." -Ilya Kaminsky, author of Deaf Republic "Musical and deeply felt, these poems-untitled and running wild-chase down the heart. No tangible space is without the immaterial here. The Elements are resilient, and I feel pushed and pulled by them. Gellatly's debut book is beautiful, haunted and mystical. Her poems are like 'the strange contrast between death and dawn, ' and 'the fool's divine spark / forever coming loose' in the reader's hands." -Bianca Stone, author of The Möbius Strip Club of Grief "In Kylie Gellatly's The Fever Poems, water is silk that rubs against the night. Events are figments of the speaker's imagination and graves shape time. Extremely contemporary in their fixation on illness, isolation, and anxiety, these poems spill down and across the page like slate off a cliffside. There is an unwavering generosity to the introspection of this speaker: through her eyes, floating ash becomes 'hundreds of baled papers, bent up like two bears dancing.' This is a collection that understands and beautifully, painfully relays that what we have-with each other, with the land-is 'the last of the last.'" -Taneum Bambrick, author of Vantage "'I was sore at heart, ' writes Kylie Gellatly in The Fever Poems, and the reader is invited into a sprawling, curious, visionary, deeply empathetic, epic debut. Her poems shine goldly in the space between elemental earth-salt, rock, wind, weather-and the human, conscious choice of living. With echoes of Jorie Graham and W. S. Merwin, Gellatly navigates the complexities of language, 'a pledge made / into paper / weathered / in our hands, ' 'choked with the monsters of parentheses'. This is a collection for our time of pandemic, uncertainty, and an urgent need for a revision of our relationship with the natural world-Gellatly recognizes the swinging pendulum of power between the earth's force and human interference, and, without castigation, illuminates us." -Jenny Molberg, author of Refusal "Kylie Gellatly's The Fever works like a ship, navigating the tempests of our fragile moment. The poems enact a wandering/wondering through fire and fog, investigating meaning through a naturalist's lens, balancing an elemental pull with the fierce heat of being human. This collection is an invitation to a sensorial meditation, one where fever is less a symptom of sickness than a door to discovery." -Erin Adair-Hodges, author of Let's All Die Happy

National bestseller An ALA Notable Book Three-term poet laureate Joy Harjo offers a vivid, lyrical, and inspiring call for love and justice in this contemplation of her trailblazing life. Joy Harjo, the first Native American to serve as U.S. poet laureate, invites us to travel along the heartaches, losses, and humble realizations of her "poet-warrior" road. A musical, kaleidoscopic, and wise follow-up to Crazy Brave, Poet Warrior reveals how Harjo came to write poetry of compassion and healing, poetry with the power to unearth the truth and demand justice. Harjo listens to stories of ancestors and family, the poetry and music that she first encountered as a child, and the messengers of a changing earth—owls heralding grief, resilient desert plants, and a smooth green snake curled up in surprise. She celebrates the influences that shaped her poetry, among them Audre Lorde, N. Scott Momaday, Walt Whitman, Muscogee stomp dance call-and-response, Navajo horse songs, rain, and sunrise. In absorbing, incantatory prose, Harjo grieves at the loss of her mother, reckons with the theft of her ancestral homeland, and sheds light on the rituals that nourish her as an artist, mother, wife, and community member. Moving fluidly between prose, song, and poetry, Harjo recounts a luminous journey of becoming, a spiritual map that will help us all find home. Poet Warrior sings with the jazz, blues, tenderness, and bravery that we know as distinctly Joy Harjo.

This volume contributes to the fields of lyric poetry and poetics (especially poetic form), aesthetics, and German literature by intervening in debates on the social functions, cognitive and emotional effects, and the value of poetry. It builds on, and moves beyond, previous theories of rhythm to tie meter more particularly to the specificities of poetic language in blending of embodied responses, cultural situations, and linguistic particularities. The book examines the German-language tradition across three centuries, arguing that the interdisciplinarity and richness of metrical theory and practice emerge in the heterogeneity of poetry and its defenders in their specific historical moments. Focusing on Friedrich Gottlieb Klopstock, Friedrich Nietzsche, and Durs Grünbein, the book contextualizes each in the metrical and aesthetic debates of his epoch, showing how questions of meter are linked with overarching poetic goals such as the relationship between form and meaning, the adaptation of the Classical past for German literature, and the ways poetry's sounds work in the body. It argues that Klopstock's, Nietzsche's, and Grünbein's metrical theory and practice offer valuable insights for thinking about the ways poetry works and why it matters.

Snapshots of the Soul considers how photography has shaped Russian poetry from the early twentieth century to the present day. Drawing on theories of the lyric and the elegy, the social history of technology, and little-known archival materials, Molly Thomasy Blasing offers close readings of poems by Boris Pasternak, Marina Tsvetaeva, Joseph Brodsky, and Bella Akhmadulina, as well as by the late and post-Soviet poets Andrei Sen-Sen'kov, Arkadii Dragomoshchenko, and Kirill Medvedev, to understand their fascination with the visual language, representational power, and metaphorical possibilities offered by the camera and the photographic image. Within the context of long-standing anxieties about the threat that visual media pose to literary culture, Blasing finds that these poets were attracted to the affinities and tensions that exist between the lyric or elegy and the snapshot. Snapshots of the Soul reveals that at the core of each poet's approach to "writing the photograph" is the urge to demonstrate the superior ability of poetic language to capture and convey human experience. Open Access edition funded by the National Endowment for the Humanities.

Poetic Affairs deals with the complex and fascinating interface between literature and life through the prism of the lives and works of three outstanding poets: the German-Jewish poet and Holocaust survivor, Paul Celan (1920–1970); the Leningrad native, U.S. poet laureate, and Nobel Prize winner, Joseph Brodsky (1940–1996); and Germany's premier contemporary poet, Durs Grünbein (born 1962). Focusing on their poetic dialogues with such interlocutors as Shakespeare, Seneca, and Byron, respectively—veritable love affairs unfolding in and through poetry—Eskin offers unprecedented readings of Celan's, Brodsky's, and Grünbein's lives and works and discloses the ways in which poetry articulates and remains faithful to the manifold "truths"—historical, political, poetic, erotic—determining human existence.

Much of the scholarly attention attracted by Michael Oakeshott's writings has focused upon his philosophical characterisation of the relations that constitute moral association in the modern world. A less noticed, but equally significant, aspect of Oakeshott's moral philosophy is his account of the type of person (or persona) required to enter into and enjoy moral association. Oakeshott’s best known characterisation of the persona best suited to moral association occurs in his identification of a ‘morality of the individual’. The book argues that Oakeshott’s characterisations of religious and poetic experience provide a more detailed account of the type of persona that emerged in response to what it perceived as an invitation to participate in moral association in the modern world.