AP5-A first edition (numberline starts at "1") hardcover book SIGNED by

AP5-A first edition (numberline starts at "1") hardcover book SIGNED by author (first name only) and inscribed to previous owner on the half-title page in very good condition in very good dust jacket that is mylar protected. Book lightly bowed, dust jacket and book have some bumped corners, light discoloration and shelf wear. 9.25"x6.25", 156 pages. Satisfaction Guaranteed. Susan Vanderborg examines the role of paratexts-notes, prefaces, marginalia, and source documents-in shaping the reading communities for American experimental poetry published since 1950. Since 1950, Vanderborg notes, American avant-garde poetry has been dominated by two seemingly contradictory impulses: a disruption of language as transparent communication and a need to contextualize the poets' word games for readers. For many authors, the solution has been the creation of a split text-a difficult, elliptical, disjunctive poetry accompanied by more accessible paratexts: creatively arranged essays, notes, source histories, and other references that serve as necessary complements to the poetry rather than as secondary commentary. Paratexts, which tend to be more colloquial and readable than the poetry, provide a forum in which to discuss issues of audience and community. Vanderborg examines both the innovations and the limitations of paratexts in redefining the poet's community, using the writing of six poets who represent different stages in the evolution of this form: Charles Olson, Jack Spicer, Susan Howe, Charles Bernstein, Lorenzo Thomas, and Johanna Drucker. In his parenthetical asides and poetically written essays, Vanderborg points out, Charles Olson is the most optimistic of the six in terms of the poet's ability to portray a literary community that continually redefines its boundaries to include new perspectives and readers. Jack Spicer interrupts his own poetry books with prose notes and letters: exegetical paratexts, Vanderbord explains, that also betray great ambivalence about the danger posed to the artist when a poetic text is circulated publicly. Both Susan Howe and Charles Bernstein argues, self-consciously align themselves with marginal poetic traditions against a canonical literary history, attempting to retrieve lost or neglected writings. The relation between poetic text and communal paratext in their books is deliberately oppositional. Vanderborg concludes with the visual paratexts of Lorenzo Thomas and Johanna Drucker, who incorporate movie stills and other popular culture icons throughout their poetry to satirize national narratives of both conformity and rebellion. Although interest in paratexts has been increasing, Paratextual Communitiesis the first book-length study of their role in contemporary American avant-garde poetry. Sixteen illustrations enhance this important book.

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