Reviews'Roland Barthes had little interest in poetry, but, surprisingly, his occasional remarks on the subject and thoughts about literature in general played a provocative role, Calum Gardner shows, for poets in the UK and especially the US and contributed especially to arguments about L=A=N=G=U=A=G=E writing. Gardner's lucid and wide-ranging discussion shrewdly illuminates the odd fortunes of literary ideas.Professor Jonathan Culler, Cornell University'Calum Gardner's subtle and shifting account of how the work of Roland Barthes has been read and re-used by English-speaking poets since the 1970s is a tour de force that will long resonate with poetry specialists and literary theorists alike.'Dr Andy Stafford, Leeds UniversityWhat kinds of pleasure do we take from writing and reading? What authority has the writer over a text? What are the limits of language's ability to communicate ideas and emotions? Moreover, what are the political limitations of these questions? The work of the French cultural critic and theorist Roland Barthes (1915–80) poses these questions, and has become influential in doing so, but the precise nature of that influence is often taken for granted. This is nowhere more true than in poetry, where Barthes' concerns about pleasure and origin are assumed to be relevant, but this has seldom been closely examined. This innovative study traces the engagement with Barthes by poets writing in English, beginning in the early 1970s with one of Barthes' earliest Anglophone poet readers, Scottish poet-theorist Veronica Forrest-Thomson (1947–75). It goes on to examine the American poets who published in L=A=N=G=U=A=G=E and other small but influential journals of the period, and other writers who engaged with Barthes later, considering his writings' relevance to love and grief and their treatment in poetry. Finally, it surveys those writers who rejected Barthes' theory, and explores why this was. The first study to bring Barthes and poetry into such close contact, this important book illuminates both subjects with a deep contemplation of Barthes' work and a range of experimental poetries. Calum Gardner is Teaching Fellow in Drama and Poetry at the University of Leeds.

Over the last thirty years, more and more critics and scholars have come to recognize the importance of science to literature. 'Science in Modern Poetry: New Directions' is the first collection of essays to focus specifically on what poets in the twentieth and twenty-first centuries have made of the scientific developments going on around them. In a collection of twelve essays, leading experts on modern poetry and on literature and science explore how poets have used scientific language in their poems, how poetry can offer new perspectives on science, and how the 'Two Cultures' can and have come together in the work of poets from Britain and Ireland, America and Australia. What does the poetry of a leading immunologist and a Nobel-Prize-winning chemist tell us about how poetry can engage with science? Scientific experiments aim to yield knowledge, but what do the linguistic and formal experiments of contemporary American poets suggest about knowledge in their turn? How can universities help to bring these different experimental cultures and practices together? What questions do literary critics need to ask themselves when looking at poems that respond to science? How did developments in biology between the wars shape modernist poetry? What did William Empson make of science fiction, Ezra Pound of the fourth dimension, Thomas Hardy of anthropology? How did modern poets from W. B. Yeats to Elizabeth Bishop and Judith Wright respond to the legacy of Charles Darwin? This book aims to answer these questions and more, in the process setting out the state of the field and suggesting new directions and approaches for research by students and scholars working on the fertile relationship between science and poetry today.

In Poetry & Translation the acclaimed poet and translator Peter Robinson examines the activity as of translation practised by poets and others, and how the various practices of translating have continued in parallel with the writing of original poetry. So, while some attention is paid to classic statements of the translator’s cultural role, statements such as Walter Benjamin’s, readers should not expect to find formalized theoretical debate along the lines already developed in translation studies courses and their teaching handbooks. Instead Poetry & Translation seeks to raise issues and matters for discussion - the character of bilingual editions and how they are, or may be, read - not to close them down. The aim of the book is be to increase knowledge of, and thought about, the interactive processes of reading and writing poetry composed in mother tongues and in translations. Poetry & Translation will be of value to all devoted readers and students of poetry or translation, to students involved in classical and modern languages, and to those taking part in creative writing courses, whether as students or as teachers.

The paradigmatic figure of twentieth-century history is the ‘displaced person’, a concept which emerged from the demographic migrations, deportations and genocidal purges that accompanied two world wars, the destruction and construction of nation states and the restructuring of the global order which they occasioned. These processes almost inevitably fostered a poetry of exile and expatriation intimately bound up with the experience of modernity and the culture of modernism, culminating, in the postcolonial era, with the globalisation of displacement as the determining condition of postmodernity. In this timely new volume renowned poetry critic Stan Smith examines a number of poets – Plath, Larkin, Heaney, Walcott, Middleton, Fisher, Duffy – through the lens of displacement.

It has been variously labelled ‘Language Poetry’, ‘Language Writing’, ‘L=A=N=G=U=A=G=E writing’ (after the magazine that ran from 1978 to 1981), and ‘language-centred writing’. It has been placed according to its geographical positions, on East or West coasts; its venues in small magazines, independent presses and performance spaces, and its descent from historical precursors, be they the Objectivists, the composers-by-field of the Black Mountain School, the Russian Constructivists or American modernism à la William Carlos Williams and Gertrude Stein. Indeed, one of the few statements that can be made about it with little qualification is that ‘it’ has both fostered and endured a crisis in representation more or less since it first became visible in the 1970s. In Poetry & Language Writing David Arnold grasps the nettle of Language poetry, reassessing its relationship with surrealism and providing a scholarly, intelligent way of understanding the movement. Poets discussed include Charles Bernstein, Susan Howe, Michael Palmer and Barrett Watten.