Avant-Garde Pieties tells a new story about innovative poetry; it argues that the avant-garde-now more than a century old-persists in its ability to nurture interesting, provocative, meaningful, and moving poems, despite its profound cultural failings and its self-devouring theoretical compulsions. It can do so because a humanistic strain of its radical poetics compels adherents to argue over the meaning of their shared political and aesthetic beliefs. In ways that can be productively thought of as religious in structure, this process fosters a perpetual state of crisis and renewal, always returning innovative poetry to its founding modernist commitments as a way to debate what the avant-garde is-what it should and does look like, and what it should and does value. Consequently, Avant-Garde Pieties makes way for a radical poetics defined not by formal gestures, but by its debate with itself about itself. It is a debate that honors the tradition's intellectual founding as well as its cultural present, which includes aesthetic multiformity, racialized and gendered modes of authorship, experiences of the sacred, political activism, and generosity in critical disagreement.
In this striking collection of poems, Joel Bettridge crafts a poignant mix of lyrics, half-stories, epigrams, speculations, histories, and songs to study how evolution, especially that of people, is guided more or less by magic. OF SPECIES documents the relentless transmutations of our human selves and the environments we inhabit; reveals the facts coded in myths, prayers, and rituals; unearths the forgotten gods who live in gene pools, artifacts, and biomes. These poems map our created and changing world, offering a vision for how to belong now to what we are on the brink of losing.
The Aret of Sharing Your Faith uniquely illustrates how you can learn and develop basic witnessing skills through a collection of articles written by experts on all phases of witnessing. Representing a wide variety of denominations, the authors address vital areas of concern with unique depth and perspective...These insightful messages will provide you with the practical strategies you need to adapt the skills of personal evangelism to the style in which you're most comfortable..." [back cover].
Reading as Belief advances the provocative idea that the disruptive techniques of recent innovative poetry require readers to become believers, occupying the same philosophical ground as the religious faithful. Pairing the poets Charles Bernstein and Bruce Andrews with John Calvin and Jonathan Edwards, and drawing on the work of diverse thinkers such as Wendy Brown, Ludwig Wittgenstein, Walter Benjamin, Stanley Cavell, William James, and Gilles Deleuze, this book demonstrates how belief, faith and language-attuned critical inquiry share an epistemology, one concerned with making meaning in the absence of certainty. Bettridge argues that recognizing such common ground helps overcome the cultural and philosophical impasse following the collapse of modernity s central narratives about language and liberal subjectivity.
Poetry. "Dialogue and uncertainty seem to be in short supply these days, but Joel Bettridge's THE PUBLIC LIFE OF CHEMISTRY aims to rehabilitate them. A series of letters to and from poet friends structures his book and creates an approach to knowledge that is less information than in formation. Quantum theory teaches that there is only relation. THE PUBLIC LIFE OF CHEMISTRY seeks to demonstrate this in both its form and content, while not ignoring the modern age's legacy of violence. "--Alan Gilbert
Avant-Garde Pieties tells a new story about innovative poetry; it argues that the avant-garde-now more than a century old-persists in its ability to nurture interesting, provocative, meaningful, and moving poems, despite its profound cultural failings and its self-devouring theoretical compulsions. It can do so because a humanistic strain of its radical poetics compels adherents to argue over the meaning of their shared political and aesthetic beliefs. In ways that can be productively thought of as religious in structure, this process fosters a perpetual state of crisis and renewal, always returning innovative poetry to its founding modernist commitments as a way to debate what the avant-garde is-what it should and does look like, and what it should and does value. Consequently, Avant-Garde Pieties makes way for a radical poetics defined not by formal gestures, but by its debate with itself about itself. It is a debate that honors the tradition's intellectual founding as well as its cultural present, which includes aesthetic multiformity, racialized and gendered modes of authorship, experiences of the sacred, political activism, and generosity in critical disagreement.
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