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• W320180154 abstract "editors of this portfolio asked for a short introduction to my discussion of Joseph Donahues and Pam Rehm's work and apocalyptic poetry. Why write an essay about apocalypticism in the work of two contemporary poets? Why insist that their work represents the way forward for American poetry? Basically, this: sixteen years ago, the editors of apex of the M (Lew Daly, Alan Gilbert, Kristin Prevallet, and Pam Rehm) opened their inaugural issue with an editorial predicting the academic institutionalization of both traditional workshop poetry and Language poetry. This was not such a stretch, even at the time; but these were the only experimental or avant-garde writers making such a critique, and it earned them great scorn in some quarters. My suspicion is that they wrote the editorial in response to their growing disenchantment with so-called radical poetry, which wasn't remotely radical--at least not in the Christian apocalyptic sense that was then attracting their attention. editorial was clearly meant as a provocation, but just as importantly as an indictment of secular models for contemporary writing, which typically resist and frequently deny the unmediated and insurrectionary love of the divine that the apex editors found in mystical and prophetic traditions, as well as romanticism. Apocalypse and other forms of sacred expression unbind love from material desire, freeing it to embrace the unknown and the unspeakable. Here we are in 2010: the numbers of creative writing programs and the visibility of avant-garde poetries have increased (exponentially, even), and we are guided by the two groups identified in the editorial. legacy of visionary poetry, which dominated experimental North American poetry at midcentury, has been neutralized. Charles Bernstein's criticism is representative of this neutralization. In his afterword to Robin Blaser's Holy Forest, for example he writes that The Holy Forest is wholly secular, for only the secular allows the promise of an end to what Blake knew as the Totalizing Oppression of Morality. It's a grotesque claim, one that ignores the quality and meaning of Blaser's work, purging its spirituality to make it safe for academic consumption. (1) Neither Language writing nor traditional workshops support visionary or vatic writing. But just as importantly, neither opposes such work. Instead, as the editors to the apex of the M understood sixteen years ago, these two sanctioned modes are symptoms of a pervasive allergy to the spirit that visionary work must seek to cure. But how? This was the great question, in my mind, that drove the production of the apex of the M, surely among the most interesting poetry journals to be published in the last twenty years. And it's the question that compels me to turn my attention to the work of Joseph Donahue and Pam Rehm in what follows. [section] What does it mean to say a poem is apocalyptic? Typically, it means that a poem, or its poet, suggests catastrophe or the quality of conclusion signified in Revelation, the final book of the New Testament. This can be a helpful designation, but not always. Allusions to Christian omega are inevitable in apocalyptic poetry, but there is something more at work even in the work of Blake, for instance, than the revelatory completion of sacred Christian history. Apocalypse is both genre and mode, and each is filled with power. Apocalyptic poetry, then, is language charged with the kerygmatic power to reveal sacred reality, in history and beyond it. peculiar power of a truly apocalyptic poetry is its expression of the vitality of a God all in all, beyond history but knowable somehow in it, who does not yet exist, but who pulsates a profound, irrefutable influence from an unforeseen future obliquely but entirely recognized in an exegetical totalization of language. Put another way: apocalyptic poetry is a power-load of words. Today, two poets writing such apocalyptic poetry are Joseph Donahue and Pam Rehm. …" @default.
• W320180154 created "2016-06-24" @default.
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• W320180154 date "2017-12-31" @default.
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• W320180154 title "9. APOCALYPTICISM: A WAY FORWARD FOR POETRY" @default.
• W320180154 doi "https://doi.org/10.7312/olea17330-011" @default.
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