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An innovative exploration of early twentieth-century avant-garde poetry’s relationship to the public sphere

“It is difficult / to get the news from poems / yet men die miserably every day / for lack / of what is found there,” as the poet William Carlos Williams memorably declared. In Omnicompetent Modernists: Poetry, Politics, and the Public Sphere, Matthew Hofer examines, through a multilayered literary critique of interwar modernist poetry, what it might mean to get the news, and more, from a poet.

Using pragmatist ideas about the public sphere as a tool, Hofer reveals how Langston Hughes, Ezra Pound, and Mina Loy sought to use literature to both express and enable thought. In Hughes, Pound, and Loy, Hofer attends to poets whose work vigorously imagined possible new relationships between language, thinking, and public society. Each poet had different goals and used different methods, but all found both inspiration and encouragement in popular political theory. Hughes advocated for a more just vision of color and class in the United States. Pound sought to condemn those whom he associated with public harm, linguistically, socially, economically, and politically. Loy championed the “psycho-democratic” representation of women, in both public and private life.

Although Hughes, Pound, and Loy are rarely considered together, what unites these three writers is how each reconceived the public realm, and revolutionized aesthetic form to articulate those visions. Hofer combines sharp intellectual historiography with rigorous literary criticism and the result is a study that reinvigorates both the poems and poets under consideration and speaks to the immense power of language in manipulating public opinion—with pertinent implications for the politics of the present.
 

By analyzing how protest fused the politics of reading and writing in 1968 West Germany, author Peter Schweppe uncovers the vibrant history of an alternative literary form during a watershed moment of social upheaval. Out of Line interlinks the politics of reading and writing with the verve of Global Sixties’ protest, where fringe books, underground newspapers, incendiary flyers, and furtive graffiti galvanized readers and writers alike. The phrase “out of line” scrutinizes the emerging performative relationship between visual and textual media in the late 1960s as it metamorphosed modes of West German literary production, channeled the agenda of the protest movement, and, in doing so, shaped new kinds of textual meaning. Through its engagement with theories of materiality and “things,” Out of Line interrogates the dynamic ways that protest readers and writers pushed and broke conventional boundaries. Schweppe’s exploration of form discloses how reading and writing out of line implicates a textual and material history of protest and the lessons it offers protest histories to come.