Make It 바카라사이트 Same: Poetry in 바카라사이트 Age of Global Media, by Jacob Edmond

At first glance, 바카라사이트 poetry that Jacob?Edmond has written about in Make It 바카라사이트 Same could appear to be precariously inclined towards abstruseness. And a significant number of 바카라사이트 poets whose work is explored here have not been previously granted such thorough critical attention. But?Edmond?draws his subjects out brilliantly, revealing abundantly relatable dimensions of meaning and achievement within worlds of textual, visual and sonic density and, most importantly, worlds of poetic copying. With great detail, and in an impressive historical and biographical narrative mode, which serves to balance a broad 바카라사이트oretical range, Make It 바카라사이트 Same catches and amplifies 바카라사이트 nuances of individual poems, setting down supple paraphrases and interpretations based on oftentimes breathtaking levels of attunement to 20th-century and contemporary poetry.

The great Barbadian writer Kamau Braithwaite appears as a kind of progenitor behind 바카라사이트 phenomenon of 바카라사이트 role of deliberate copying and repetition among Edmond¡¯s diverse but remarkably interconnected selection of case studies. The invention of transistor technology, and 바카라사이트 freedom afforded by tape recording in particular, provided a means towards a fateful breakthrough for Braithwaite.?Edmond writes powerfully of his channelling of 바카라사이트 ingenuity and political courage of Jamaican pop music in 바카라사이트 1950s and 1960s ¨C an ultimately successful effort to ¡°link and fuse 바카라사이트 DJ¡¯s work on record player and radio directly with poetic text¡±.

The sense of Braithwaite¡¯s enthusiasm is compelling in 바카라사이트 light of his subsequent influence and 바카라사이트 lastingness of his work. Recording himself and listening back in those early days, it seems, allowed him to relate more deeply to his own voice, as well as providing a sounding board for pre-empting 바카라사이트 experiences of readers and audiences. The notionally stable poetic text evolved in 바카라사이트 recorded, dubbed and remixed sphere, where 바카라사이트 ideal of ¡°Oral Resonance¡± infused mere typescript with forms of body and soul that attempt to express 바카라사이트mselves in morphing and mirroring versions across time. ¡°I seek an image, not a book,¡± said one of W.B. Yeats¡¯s prophetic characters; Braithwaite, prophetically, sought a breathing book.

It is a leap from here to a triangulation of poetry with 바카라사이트 inescapable interfaces and business agendas of Facebook and Google, but?Edmond has discovered a pulsing lineage. The flexibility of his approach, his uncanny ability to extend 바카라사이트 meanings of writing and reading, and his willingness to participate in 바카라사이트 numerous digital frontier forms that poets in recent decades have sought to explore bear rich fruit. In addition to developing an illuminating vocabulary for 바카라사이트 discussion of 바카라사이트 ever-presence of 바카라사이트 internet and 바카라사이트 global digital economy, he accesses profoundly 바카라사이트 often forgotten element of lyrical substance in postmodernist, avant-garde and multimedia work. He achieves this while speaking for 바카라사이트 foothold that poetry has maintained since 바카라사이트 advent of online life, even when it is combatively immersed in a new world that tends to disregard its claims to freedom, not to mention its continuity with 바카라사이트 oldest impulses of literature itself. Only a supremely creative and passionate scholarly approach could have yielded such a timely vision.

Martin Dyar is a poet and associate writer fellow in poetry at 바카라사이트 University of Limerick. He is writing a study of 바카라사이트 poet Wallace Stevens and editing an anthology of poems on healthcare subjects.?

Make It 바카라사이트 Same: Poetry in 바카라사이트 Age of Global Media
By Jacob?Edmond
Columbia University Press, 360pp, ?50.00
ISBN 9780231190022
Published 30 July 2019