Industrial Poetics: Demo Tracks for a Mobile Culture

225 Pages·2006·2.45 MB·English

by  Joe Amato

Industrial Poetics
demo tracks for a mobile culture
joe amato
contemporary north american poetry series
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Industrial Poetics
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ndu
I
Joe Amato
contemporarynorth american poetryseries
Series Editors Alan Golding Lynn Keller Adalaide Morris
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strial
Demo
Tracks
for a
Mobile
Culture
POETICS
university of iowa press iowa city
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Copyright © 2006 by the
University of Iowa Press
http://www.uiowa.edu/uiowapress
All rights reserved
Printed in the United States of America
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Cataloging-in-Publication data
on file at the Library of Congress
06 07 08 09 10 C 5 4 3 2 1
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for the have-nots
I have
and have not known
and for Kass
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Some have at first for Wits, then Poetspast,
Turn’d Criticksnext, and prov’d plain Foolsat last;
—Alexander Pope, AnEssay on Criticism
I insist on the imaginative relation in the critic’s life
because I sense that without it, without poesis, the critical
relation becomes a form of Nietzschean ressentiment, a
consummation of the ironic self, a spite of mind.
—Ihab Hassan, “Parabiography:
The Varieties of Critical Experience”
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Contents
~Construction Note xi
Acknowledgments xiii
How to Tell the Difference between Life and Art
A Grant Proposal (Take 1) 1
track 1
Industrial Poetics: A Chautauqua Multiplex in Fits and Starts 7
How to Tell the Difference between Life and Art
A Grant Proposal (Take 2) 65
track 2
Technical Ex-Communication: How a Former Professional Engineer
Becomes a Former English Professor 73
How to Tell the Difference between Life and Art
A Grant Proposal (Take 3) 97
track 3
Labor, Manufacturing, Workplace, Community:
Four Conclusions in Search of an Ending 105
Notes 161
Bibliography 179
Index 201