LEADER 04067nam 2200673Ia 450 001 9910809577203321 005 20230803031313.0 010 $a0-8014-6957-0 010 $a0-8014-6958-9 024 7 $a10.7591/9780801469589 035 $a(CKB)2670000000417694 035 $a(EBL)3138503 035 $a(OCoLC)922998416 035 $a(SSID)ssj0000950520 035 $a(PQKBManifestationID)11520864 035 $a(PQKBTitleCode)TC0000950520 035 $a(PQKBWorkID)11005472 035 $a(PQKB)10763817 035 $a(StDuBDS)EDZ0001503924 035 $a(MiAaPQ)EBC3138503 035 $a(OCoLC)857069266 035 $a(MdBmJHUP)muse28906 035 $a(DE-B1597)478548 035 $a(OCoLC)979627940 035 $a(DE-B1597)9780801469589 035 $a(Au-PeEL)EBL3138503 035 $a(CaPaEBR)ebr10738661 035 $a(CaONFJC)MIL683528 035 $a(EXLCZ)992670000000417694 100 $a20130104d2013 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aNobody's business$b[electronic resource] $etwenty-first century avant-garde poetics /$fBrian M. Reed 210 $aIthaca, NY $cCornell University Press$d2013 215 $a1 online resource (248 p.) 300 $aDescription based upon print version of record. 311 0 $a1-322-52246-4 311 0 $a0-8014-5157-4 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface: What Now? --$t1. In Praise of Obsolescence --$t2. New Consensus Poetics and the Avant-Garde --$t3. Mechanical Form and Avant-Garde Aesthetics --$t4. Flarf, Folly, and George W. Bush --$t5. Andrea Brady's Peculiar Dissidence --$t6. Danny Snelson's Disco Operating System --$tAcknowledgments --$tNotes --$tIndex 330 $aSince the turn of the new millennium English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences. Nobody's Business is the first book to treat the emergence of Flarf and Conceptual Poetry in a serious way. In his engaging account, Brian M. Reed argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace. Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of "content providing"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As Reed sees it, this new generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions or art and calls into question the legitimacy of the institutions that define it. 606 $aAmerican poetry$y21st century$xHistory and criticism 606 $aExperimental poetry, American$xHistory and criticism 606 $aPoetics$xHistory$y21st century 615 0$aAmerican poetry$xHistory and criticism. 615 0$aExperimental poetry, American$xHistory and criticism. 615 0$aPoetics$xHistory 676 $a811/.609 700 $aReed$b Brian M$01646536 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910809577203321 996 $aNobody's business$94117936 997 $aUNINA