Imposition of ash styles comic8/26/2023 Leading us from the working manuscript to the little magazine, from the individual collection to the endlessly emended magnum opus, from the anthology to the text-book, the practice of revision, then, retraces the historical construction of literary revolution(s), highlighting lines of rupture and continuity as certain names are marginalized or simply deleted.īecause, among them, Marianne Moore was herself a relentless editor of her own or others’ words, yet has remained a shifting figure in the “great narrative” of Modernism, her work allows us to re-examine the claims of artistic radicalism, in the light of more complex modes of revision. Since they combine the erasure of past verbal excesses and the endeavor of compression on the page, such slashes of the “creative pencil” (H.D.), aptly seem to enact and materialize the revolutionary dynamics of rejection and renewal that most writers and critics have chosen to foreground over alternative paradigms of change. From the editorial birth of Imagism to the preliminary pruning of The Waste Land, the dominant narratives of Modernism have often been built on foundational acts of crossing out, whether self-imposed, collective or allographic.
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