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A new edition of this groundbreaking anthology revisits postmodernism as a twenty-first-century movement.
Postmodern American Poetry: A Norton Anthology galvanized attention on its publication in 1994, making “the avant-garde accessible” (Chicago Tribune) and filling “an enormous gap in the publication annals of contemporary poetry” (Marjorie Perloff). Now, two decades later, Paul Hoover returns to suggest what postmodernism means in the twenty-first century. This revised and expanded edition features 114 poets, 557 poems, and 15 poetics essays, addressing important recent movements such as Newlipo, conceptual poetry, and Flarf. Bringing together foundational postmodern poets like Charles Olson, Denise Levertov, and Allen Ginsberg with new voices like Christian Bok, Kenneth Goldsmith, and Katie Degentesh, this edition of Postmodern American Poetry is the essential collection for a new generation of readers.- Sales Rank: #102169 in Books
- Brand: Brand: W. W. Norton Company
- Published on: 2013-03-18
- Original language: English
- Number of items: 1
- Dimensions: 9.20" h x 1.70" w x 6.10" l, 2.76 pounds
- Binding: Paperback
- 1040 pages
- Used Book in Good Condition
From Publishers Weekly
Concentration and magnification make the best anthologies work, and this may be one of them. Concentration: the focus on a body of writing with a heritage, an era, or a style in common that tests shared visions and constraints. Magnification: an expanse that seems to widen and deepen as we are allowed to take a look at it, and then another look. For anyone carping at the idea of the postmodern or the avant-garde as wanly intellectual, fiercely separatist, beside the point, or even nonexistent, Hoover's large-scale collection of recent experimental American poetry (and a concluding selection of essays about it) should persuade that it's not. He brings together more than 100 writers from the 1950s and since--Olson, Duncan, O'Hara, Ginsberg, Corso, Dorn, Major, Ashbery, Guest--whose adventures with the language renew it for far more than a readymade membership. The fact that some of the poets are sine qua nons and others aren't simply leaves the whole tribe more interesting. There's almost no point in listing names, except to indicate breadth; the same could be said for the "schools" represented. For literary positions have a way easing from their own strictures and outgrowing acolytic expectation when the words themselves are richly transformed and reformed--as they are here. Hoover is the editor of New American Writing.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Long regarded as the major purveyor of conservative, canonical literary anthologies for classroom use, the publisher here loosens up with a hefty gathering of 103 avant-gardists from the Beat, New York, Black Mountain, language, performance, and other experimental schools flourishing off-campus since World War II. It's an exceptionally rich vein but one well mined of late in American Poetry Since 1950 ( LJ 5/1/93), Out of this World ( LJ 10/1/91 ), and other works. Editor Hoover broadly defines postmodernism as "an ongoing process of resistance to mainstream ideology" whose poetry "opposes . . . centrist values," yet, ironically, what separates this anthology from the others is its recasting of a half century's lively artistic spontaneity into a set of "oppositional strategies" aimed at supporting the jargon-plated theories of today's mainstream academic discourse. Half the 400-plus poems included were published only since 1980, and--bulk notwithstanding--there are surprising omissions (Oppen, Bronk, Dahlen, Oppenheimer). Thus, while this is a welcome survey of exciting territory, the Norton imprimatur should not imply that it is definitive.
- Fred Muratori, Cornell Univ. Lib., Ithaca, N.Y.
Copyright 1994 Reed Business Information, Inc.
From Booklist
When Hoover’s first anthology of postmodern American poetry appeared in 1994, it established invaluable parameters for post-1950 avant-garde works in 675 pages. The second edition fills 976, an indication of the fervor with which poets have responded to the enormous waves of change delivered by the intervening two decades, particularly the digital revolution. Hoover’s expert introduction tracks all the stages and facets of postmodern poetry, including such modes as conceptual poetry, cyberpoetry, and proceduralism, which often involve appropriation and cybersampling. He has also included 16 essays that articulate postmodern poetics. The 114 poets (each succinctly and informatively introduced) and their 557 poems are arranged chronologically. The well-chosen selections range exhilaratingly from Denise Levertov’s “intense lyricism” and John Ashbery’s “delight in artifice” to sampling poet Eleni Sikelianos, collagist Lisa Jarnot, and proceduralist Noah Eli Gordon, who created The Source by “culling . . . bits of language” from page 26 in nearly 10,000 books in the Denver Public Library. Each approach, mechanical or intuitive, yields poems of provocation, mystery, wit, even beauty, adding up to an engrossing and defining collection. --Donna Seaman
Most helpful customer reviews
32 of 38 people found the following review helpful.
one of the must-have anthologies
By adead_poet@hotmail.com
For anyone interested in postmodern poetry or for those who want to learn what postmodern poetry is, this is the anthology to have. It's loaded with some of the best poets: the gifted Robert Duncan, Ferlinghettis (one of the best of the beat poets), Bukowski (my first intro to him, and not a dissapointment), Levertov, Kenneth Koch (not his best poems, but still a good selection), the wonderful poetry of Frank O'Hara, Ginsberg, Robert Creely (and excellent selection), a selection from Ashbery so huge that i almost forgot i wasn't reading one of his books, the awesome Gary Snyder, Rothernberg's "Cokboy", Dave Trinidad, Paul Hoover, Wanda Coleman, Charles Olson, Kerouac, Philip Whalen, Corso, Amiri Baraka, Diane di Prima, Anne Waldman, and many others, including a very strong Chicago appearance towards the end.
The anthology starts with an essay by Hoover, which helps to clear up many questions about what postmodern poetry is and what many of the schools are. He concludes the anthology with a selection of essays on poetry.
13 of 15 people found the following review helpful.
Pretty strong over all
By M. Noack
I basically would like to comment on the two previous reviews, as this is a specifically oriented anthology - toward modern/postmodern poetry - & does a great job as such. Obviously, with any anthology, personal taste will impact ones own judgement, but the anthology is two broad for everything to appeal to every(any?)one. The selections are strong, generally & the book is nearly 1000 pages. There is only so much space available to the editor, & one can hardly compile a "postmodern" anthology today & ignore FLARF, conceptual poetry etc. Some things need to be cut, & to his credit, Hoover cut himself. The jury is still out on the staying power of the FLARF & conceptual selection (though I think the "LANGUAGE" selections are well established & will hold up) but Hover can hardly pretend, in an honest anthology that these trends, for lack of a better word, don't exist. Harry Mathews would be nice, as nearly the only (possibly the only?) American member of the OUILOPO group, but it could be argued that his best writing is in his novels. Isn't it nice that Hoover has made so many updates that it is well worthwhile to own both books?
3 of 3 people found the following review helpful.
Must have for any library of literature
By X. Suzi
This is a second edition of Hoover's now-ought-to-be-seminal anthology. Anyone who has a personal library that includes modern literary aspects needs to consider this work as a foundation element
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