Restages fundamental debates about the relationship between poetry and music

WINNER OF THE ELIZABETH AGEE PRIZE IN AMERICAN LITERATURE

Orphic Bend: Music and Innovative Poetics explores the impact of music on recent pioneering literary practices in the United States. Adopting the myth of Orpheus as its framework, Robert L. Zamsky argues that works by Charles Bernstein, Robert Creeley, John Taggart, Tracie Morris, and Nathaniel Mackey restage ancient debates over the relationship between poetry and music even as they develop work that often sharply diverges from traditional literary forms. Opening each chapter with a consideration of the orphic roots of lyric, Zamsky integrates contemporary debates over the prospects and limitations of humanism, the meaningfulness of gesture and performance, and the nature of knowledge with the poetics of the writers under consideration, grounding his analysis in close readings of their work.
 
The myth of Orpheus is used as a lens throughout the book, its different facets illuminating sometimes dramatically different aspects of the shared framework of poetry and music. In the case of Bernstein, for instance, Zamsky highlights Ezra Pound’s meditations on the relationship between poetry and music (the ground upon which Pound seeks to recapture the lost possibilities of the Renaissance) and Bernstein’s incisive critique of Pound. For her part, Morris emphasizes the performative power of spoken language, foregrounding the fact that all spoken language bears cultural, communal, and personal marks of the speaker, improving an ensemble self even within the most elemental features of language. Meanwhile, in Mackey’s work, the orphic voice of the poet powerfully reaches toward an order of knowledge in which poetry and music are nearly indecipherable from one another. In this sense, music and the musicality of poetic language are the gateways for Mackey’s Gnosticism, the mechanisms of initiation into a realm, not of secrets to be learned, but of visionary knowing that continuously unfolds.
 
The text explores a range of musical influences on the writers under consideration, from opera to different iterations of jazz, and underscores the variety of ways in which music informs their work. Many of these writers effectively present a theory of music in their invocations of it as an inspiration for, or as an analog to, poetic practice. Zamsky’s focus on poetry and music echoes important interdisciplinary studies on literary modernism, a period for which the importance of music to literary practice is well established and extends that discussion to the contemporary context. In doing so, Orphic Bend provides an important opportunity to consider both the specific legacy of modernism, and to situate contemporary writers in broader historical contexts.

Illustrates the interweaving of rhetorical and historical forces in shaping public policy

In January 1964, in his first State of the Union address, President Lyndon Johnson announced a declaration of “unconditional war” on poverty. By the end of the year the Economic Opportunity Act became law.

The War on Poverty illustrates the interweaving of rhetorical and historical forces in shaping public policy. Zarefsky suggest that an important problem in the War on Poverty lay in its discourse. He assumes that language plays a central role in the formulation of social policy by shaping the context within which people view the social world. By terming the anti-poverty effort a war, President Johnson imparted significant symbolism to the effort: it called for total victory and gave confidence that the “war” was winnable. It influenced the definition of the enemy as an intergenerational cycle of poverty, rather than the shortcomings of the individual; and it led to the choice of community action, manpower programs, and prudent management as weapons and tactics. Each of these implications involves a choice of language and symbols, a decision about how to characterize and discuss the world. Zarefsky contends that each of these rhetorical choices was helpful to the Johnson administration in obtaining passage of the Economic Opportunity Ac of 1964, but that each choice invited redefinition or reinterpretation of a symbol in a way that threatened the program.

This richly researched and impressively argued work is a history of public schooling in Alabama in the half century following the Civil War. It engages with depth and sophistication Alabama’s social and cultural life in the period that can be characterized by the three “R”s: Reconstruction, redemption, and racism. Alabama was a mostly rural, relatively poor, and culturally conservative state, and its schools reflected the assumptions of that society.

Winner of Ronald Sukenick Prize for Innovative Fiction

 The Bruise is a prize-winning novel of imperative voice and raw sensation. In the sterile dormitories and on the quiet winter greens of an American university, a young woman named M— deals with the repercussions of a strange encounter with an angel, one that has left a large bruise on her forehead. Was the event real or imagined? The bruise does not disappear, forcing M— to confront her own existential fears and her wavering desire to tell the story of her imagination. As a writer, M— is breathless, desperate, and obsessive, questioning the mutations and directions of her words while writing with fevered immediacy. Using rhythmic language, suffused with allusions to literature and art, Magdalena Zurawski recasts the bildungsroman as a vibrant and moving form.