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Little Edges, Taschenbuch von Moten, Fred, brandneu, kostenloser Versand in den USA
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Artikelmerkmale
- Artikelzustand
- ISBN
- 9780819576705
- Book Title
- Little Edges
- Item Length
- 10in
- Publisher
- Wesleyan University Press
- Publication Year
- 2016
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.3in
- Genre
- Poetry, Social Science
- Topic
- General, Ethnic Studies / African American Studies
- Item Width
- 8in
- Item Weight
- 8.8 Oz
- Number of Pages
- 96 Pages
Über dieses Produkt
Product Information
Poems that play in the sonic texture of discourses Winner of the Guggenheim Fellowship (2016) The Little Edges is a collection of poems that extends poet Fred Moten's experiments in what he calls "shaped prose"--a way of arranging prose in rhythmic blocks, or sometimes shards, in the interest of audio-visual patterning. Shaped prose is a form that works the "little edges" of lyric and discourse, and radiates out into the space between them. As occasional pieces, many of the poems in the book are the result of a request or commission to comment upon a work of art, or to memorialize a particular moment or person. In Moten's poems, the matter and energy of a singular event or person are transformed by their entrance into the social space that they, in turn, transform. An online reader's companion is available at http://fredmoten.site.wesleyan.edu.
Product Identifiers
Publisher
Wesleyan University Press
ISBN-10
0819576700
ISBN-13
9780819576705
eBay Product ID (ePID)
221834691
Product Key Features
Book Title
Little Edges
Format
Trade Paperback
Language
English
Topic
General, Ethnic Studies / African American Studies
Publication Year
2016
Genre
Poetry, Social Science
Number of Pages
96 Pages
Dimensions
Item Length
10in
Item Height
0.3in
Item Width
8in
Item Weight
8.8 Oz
Additional Product Features
Reviews
Moten's work is free speech in the best sense-musical but with heft-and will appeal to those who prefer their poetry to be 'beyond category.', Moten pays homage to jazz history, poetry history, and the illimitable future of the imagination in works organized less autonomous poems than in page-length lines, blocks of text, and short riffs., "In [Moten's poetry], he gathers the sources running through his head and transforms them into something musical, driven by the material of language itself. The poem 'all topological last friday evening,' collected in Moten's 2015 book, The Little Edges, ... unfolds as a chain of references, from free-jazz saxophonist Albert Ayler to Andrew Marvell. We may not know exactly how we moved from one to the other, but there's pleasure in getting lost in the dance."--David Wallace, The New Yorker "With its jazz exuberance, the book has the maverick spirit of one of its heroes, the multi-media artist Ralph Lemon: no hierarchy, no fluidity, no care-ridden pursuit of time, just bold, wild, delirious genius Moten is intent above all on not being anybody's 'Project.' Anarchronistically whimsical and erotic, his writing consolidates the spirit of jazz well beyond the aim and resources of a Langston Hughes or even an Amiri Baraka. But like Baraka he's a teacher; he instructs as well as delights."--Calvin Bedient, Lana Turner Journal "Moten experiments in 'shaped prose' arranging words in rhythmic blocks, shards and in audio-visual patterns."--Molly McArdle, Library Journal "Skins and minds are among the central concerns of the voices of The Little Edges. Their chunks and fragments mostly focus on listening, though, as a way of getting beneath skins and minds and beyond the rhetoric about them."--T.C. Marshall, American Book Review "Through the interplay of enjambment and parenthesis, the poem pushes us to ponder the appositional relation between making, doing, and having The Little Edges expands Moten's concern for poetry's worlding capacities by placing the reader in the liminal spaces of language and meaning, in the marginal positions suggested by the collection's title."--Gerónimo Sarmiento Cruz, Chicago Review "In its extravagance, Africa-American music can elicit a heightened kinship with its listeners, by turns sensuous or politicized (sometimes both at once) and suffused with pleasure, joy, deep feeling, resistance. Moten aims to do likewise, using mere words, their sounds, and the visual rhythms of the black-and-white page."--James Gibbons, Hyperallergic "Moten pays homage to jazz history, poetry history, and the illimitable future of the imagination in works organized less autonomous poems than in page-length lines, blocks of text, and short riffs."-- Publishers Weekly "Moten's work is free speech in the best sense--musical but with heft--and will appeal to those who prefer their poetry to be 'beyond category'."--Chris Pusateri, Library Journal "Sometimes Moten is riding a wave of sound It's like you're walking by a practice room and someone is improvising on the saxophone, lost to the music, and it's so clear and haunting and beautiful, you can't not stop and listen."--Joy Katz, American Poetry Review "In [Moten's poetry], he gathers the sources running through his head and transforms them into something musical, driven by the material of language itself. The poem 'all topological last friday evening,' collected in Moten's 2015 book, The Little Edges, unfolds as a chain of references, from free-jazz saxophonist Albert Ayler to Andrew Marvell. We may not know exactly how we moved from one to the other, but there's pleasure in getting lost in the dance."--David Wallace, The New Yorker "In many ways, Fred Moten's work is devoted to fugitivity. The stance of his poems is grassroots revolutionary: undoing by means of the everyday, the super-powerful default settings of a corporatized world and thereby reopening the case for what the world of poetry might look and feel like."--Elizabeth Willis, Boston Review, "In [Moten's poetry], he gathers the sources running through his head and transforms them into something musical, driven by the material of language itself. The poem 'all topological last friday evening,' collected in Moten's 2015 book, The Little Edges, ... unfolds as a chain of references, from free-jazz saxophonist Albert Ayler to Andrew Marvell. We may not know exactly how we moved from one to the other, but there's pleasure in getting lost in the dance."--David Wallace, The New Yorker "In many ways, Fred Moten's work is devoted to fugitivity. The stance of his poems is grassroots revolutionary: undoing by means of the everyday, the super-powerful default settings of a corporatized world and thereby reopening the case for what the world of poetry might look and feel like."--Elizabeth Willis, Boston Review "Sometimes Moten is riding a wave of sound ... It's like you're walking by a practice room and someone is improvising on the saxophone, lost to the music, and it's so clear and haunting and beautiful, you can't not stop and listen."--Joy Katz, American Poetry Review "Moten's work is free speech in the best sense--musical but with heft--and will appeal to those who prefer their poetry to be 'beyond category'."--Chris Pusateri, Library Journal "Moten pays homage to jazz history, poetry history, and the illimitable future of the imagination in works organized less autonomous poems than in page-length lines, blocks of text, and short riffs."-- Publishers Weekly "In its extravagance, Africa-American music can elicit a heightened kinship with its listeners, by turns sensuous or politicized (sometimes both at once) and suffused with pleasure, joy, deep feeling, resistance. Moten aims to do likewise, using mere words, their sounds, and the visual rhythms of the black-and-white page."--James Gibbons, Hyperallergic "Through the interplay of enjambment and parenthesis, the poem pushes us to ponder the appositional relation between making, doing, and having ... The Little Edges expands Moten's concern for poetry's worlding capacities by placing the reader in the liminal spaces of language and meaning, in the marginal positions suggested by the collection's title."--Gerónimo Sarmiento Cruz, Chicago Review "Skins and minds are among the central concerns of the voices of The Little Edges. Their chunks and fragments mostly focus on listening, though, as a way of getting beneath skins and minds and beyond the rhetoric about them."--T.C. Marshall, American Book Review "Moten experiments in 'shaped prose' arranging words in rhythmic blocks, shards and in audio-visual patterns."--Molly McArdle, Library Journal "With its jazz exuberance, the book has the maverick spirit of one of its heroes, the multi-media artist Ralph Lemon: no hierarchy, no fluidity, no care-ridden pursuit of time, just bold, wild, delirious genius ... Moten is intent above all on not being anybody's 'Project.' Anarchronistically whimsical and erotic, his writing consolidates the spirit of jazz well beyond the aim and resources of a Langston Hughes or even an Amiri Baraka. But like Baraka he's a teacher; he instructs as well as delights."--Calvin Bedient, Lana Turner Journal, In [Moten's poetry], he gathers the sources running through his head and transforms them into something musical, driven by the material of language itself. The poem 'all topological last friday evening,' collected in Moten's 2015 book, The Little Edges, ... unfolds as a chain of references, from free-jazz saxophonist Albert Ayler to Andrew Marvell. We may not know exactly how we moved from one to the other, but there's pleasure in getting lost in the dance., The poems in The Little Edges work the margins of language-the African American vernacular with its powerfully kinetic resources as well as the more elevated and elegant language of the academy-blending and juxtaposing them in ways that result in an utterly fresh poetic idiom., Sometimes Moten is riding a wave of sound ... It's like you're walking by a practice room and someone is improvising on the saxophone, lost to the music, and it's so clear and haunting and beautiful, you can't not stop and listen., "The poetic vision, or sound, of The Little Edges is remarkable in its range of reference, deep music, surprise at every turn, softness of lyric address coupled with political meditation, and undeniable beauty."-Maggie Nelson, author of Bluets and The Art of Cruelty: A Reckoning, The poetic vision, or sound, of The Little Edges is remarkable in its range of reference, deep music, surprise at every turn, softness of lyric address coupled with political meditation, and undeniable beauty., "Moten's work is free speech in the best sense-musical but with heft-and will appeal to those who prefer their poetry to be 'beyond category.'"-Chris Pusateri, Library Journal, "In [Moten''s poetry], he gathers the sources running through his head and transforms them into something musical, driven by the material of language itself. The poem ''all topological last friday evening,'' collected in Moten''s 2015 book, The Little Edges, ... unfolds as a chain of references, from free-jazz saxophonist Albert Ayler to Andrew Marvell. We may not know exactly how we moved from one to the other, but there''s pleasure in getting lost in the dance."--David Wallace, The New Yorker "With its jazz exuberance, the book has the maverick spirit of one of its heroes, the multi-media artist Ralph Lemon: no hierarchy, no fluidity, no care-ridden pursuit of time, just bold, wild, delirious genius Moten is intent above all on not being anybody''s ''Project.'' Anarchronistically whimsical and erotic, his writing consolidates the spirit of jazz well beyond the aim and resources of a Langston Hughes or even an Amiri Baraka. But like Baraka he''s a teacher; he instructs as well as delights."--Calvin Bedient, Lana Turner Journal "Moten experiments in ''shaped prose'' arranging words in rhythmic blocks, shards and in audio-visual patterns."--Molly McArdle, Library Journal "Skins and minds are among the central concerns of the voices of The Little Edges. Their chunks and fragments mostly focus on listening, though, as a way of getting beneath skins and minds and beyond the rhetoric about them."--T.C. Marshall, American Book Review "Through the interplay of enjambment and parenthesis, the poem pushes us to ponder the appositional relation between making, doing, and having The Little Edges expands Moten''s concern for poetry''s worlding capacities by placing the reader in the liminal spaces of language and meaning, in the marginal positions suggested by the collection''s title."--Gerónimo Sarmiento Cruz, Chicago Review "In its extravagance, Africa-American music can elicit a heightened kinship with its listeners, by turns sensuous or politicized (sometimes both at once) and suffused with pleasure, joy, deep feeling, resistance. Moten aims to do likewise, using mere words, their sounds, and the visual rhythms of the black-and-white page."--James Gibbons, Hyperallergic "Moten pays homage to jazz history, poetry history, and the illimitable future of the imagination in works organized less autonomous poems than in page-length lines, blocks of text, and short riffs."-- Publishers Weekly "Moten''s work is free speech in the best sense--musical but with heft--and will appeal to those who prefer their poetry to be ''beyond category''."--Chris Pusateri, Library Journal "Sometimes Moten is riding a wave of sound It''s like you''re walking by a practice room and someone is improvising on the saxophone, lost to the music, and it''s so clear and haunting and beautiful, you can''t not stop and listen."--Joy Katz, American Poetry Review "In [Moten''s poetry], he gathers the sources running through his head and transforms them into something musical, driven by the material of language itself. The poem ''all topological last friday evening,'' collected in Moten''s 2015 book, The Little Edges, unfolds as a chain of references, from free-jazz saxophonist Albert Ayler to Andrew Marvell. We may not know exactly how we moved from one to the other, but there''s pleasure in getting lost in the dance."--David Wallace, The New Yorker "In many ways, Fred Moten''s work is devoted to fugitivity. The stance of his poems is grassroots revolutionary: undoing by means of the everyday, the super-powerful default settings of a corporatized world and thereby reopening the case for what the world of poetry might look and feel like."--Elizabeth Willis, Boston Review, "The poems in The Little Edges work the margins of language-the African American vernacular with its powerfully kinetic resources as well as the more elevated and elegant language of the academy-blending and juxtaposing them in ways that result in an utterly fresh poetic idiom."-M. NourbeSe Philip, author of Zong!, "The poetic vision, or sound, of The Little Edges is remarkable in its range of reference, deep music, surprise at every turn, softness of lyric address coupled with political meditation, and undeniable beauty."--Maggie Nelson, author of Bluets and The Art of Cruelty: A Reckoning "The poems in The Little Edges work the margins of language--the African American vernacular with its powerfully kinetic resources as well as the more elevated and elegant language of the academy--blending and juxtaposing them in ways that result in an utterly fresh poetic idiom.""--M. NourbeSe Philip, author of Zong! "The poetic vision, or sound, of The Little Edges is remarkable in its range of reference, deep music, surprise at every turn, softness of lyric address coupled with political meditation, and undeniable beauty."--Maggie Nelson, author of Bluets and The Art of Cruelty: A Reckoning, "Moten pays homage to jazz history, poetry history, and the illimitable future of the imagination in works organized less autonomous poems than in page-length lines, blocks of text, and short riffs."- Publishers Weekly
Table of Content
fortrd.fortrn hand up to your ear hard enough to enjoy nothing, even more, and another. aj, this for underneath your beautiful proof of concept. eve is a texture dave is centering. mudede waters like josé muñificent. wait for it the gramsci monument all topological last friday evening all all up on that t-shirt akomfrahgment dance warm sweet nancy wilson saved frank ramsay. I lay with francis in the margin. ra, your gignity our echo. grad grind, gentles, till the park is gone. jaki byard, blues for smoke test laura (made me listen to Acknowledgments
Dewey Decimal
811/.54
Intended Audience
Trade
Series
Wesleyan Poetry Ser.
Dewey Edition
23
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