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The Sound of Poetry, the Poetry of Sound

About the Author

Marjorie Perloff

Marjorie Perloff teaches courses and writes on twentieth and now twenty-first century poetry and poetics, both Anglo-American and from a Comparatist perspective, as well as on intermedia and the visual arts. Her first three books dealt with individual poets--Yeats, Robert Lowell, and Frank O'Hara. She then published The Poetics of Indeterminacy: Rimbaud to Cage (1981), a book that has gone through a number of editions, and led to her extensive exploration of avant-garde art movements in The Futurist Moment:Avant-Garde, Avant-Guerre, and the Language of Rupture (1986, new edition, 1994), and subsequent books (13 in all). Wittgenstein's Ladder brought philosophy...

Craig Dworkin
Chicago University Press
2009

Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkin break that critical silence to readdress some of the fundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.

Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme, the role of sound repetition in novelistic prose, the connections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essays take on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.

A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.