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Poetry and WorkBird-Song by Everyone, for Everyone: Poetry, Work, and Play in J. H. Prynne’s Prose

Poetry and Work: Bird-Song by Everyone, for Everyone: Poetry, Work, and Play in J. H. Prynne’s Prose [In a series of prose works, J. H. Prynne sketches an alternative political economy of poetic production—one that challenges strict divisions between work and play, and between the worlds of adult and child. In the lecture “The Poet’s Imaginary,” Prynne mobilizes the “surprise” that can be found in a genuinely new poem to break the apparently eternal present of a day’s waged labour. In this chapter, Jeschke connects these moments of surprise with an off-hand remark on bird-song found in Prynne’s “Mental Ears and Poetic Work,” to trace a gesture towards a reconciliation of work and play. Decidedly this must remain a mere gesture to avoid what Jacob Taubes calls “the bourgeois apotheosis of culture.” However, insofar as a conceptualization of poetry through work and play is used minutely and unsteadily as a critical vocabulary, a form of movement rather than a settled achievement, such a conceptualization can contribute to a historical economics of speech. That is, it can contribute to the dissection of who gets to speak, who gets to sing, who is heard, and who is silenced as part of always specific capitalist constellations.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Poetry and WorkBird-Song by Everyone, for Everyone: Poetry, Work, and Play in J. H. Prynne’s Prose

Part of the Modern and Contemporary Poetry and Poetics Book Series
Editors: Walton, Jo Lindsay; Luker, Ed
Jeschke, Lisa
Poetry and Work — Nov 17, 2019
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14 pages

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Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2019
ISBN
978-3-030-26124-5
Pages
105 –119
DOI
10.1007/978-3-030-26125-2_3
Publisher site
See Chapter on Publisher Site

Abstract

[In a series of prose works, J. H. Prynne sketches an alternative political economy of poetic production—one that challenges strict divisions between work and play, and between the worlds of adult and child. In the lecture “The Poet’s Imaginary,” Prynne mobilizes the “surprise” that can be found in a genuinely new poem to break the apparently eternal present of a day’s waged labour. In this chapter, Jeschke connects these moments of surprise with an off-hand remark on bird-song found in Prynne’s “Mental Ears and Poetic Work,” to trace a gesture towards a reconciliation of work and play. Decidedly this must remain a mere gesture to avoid what Jacob Taubes calls “the bourgeois apotheosis of culture.” However, insofar as a conceptualization of poetry through work and play is used minutely and unsteadily as a critical vocabulary, a form of movement rather than a settled achievement, such a conceptualization can contribute to a historical economics of speech. That is, it can contribute to the dissection of who gets to speak, who gets to sing, who is heard, and who is silenced as part of always specific capitalist constellations.]

Published: Nov 17, 2019

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