Xavier Kalck

Fiona McMahon

Naomi Toth

This collection of essays explores Reznikoff’s verse and its contemporary poetic and critical legacy in five movements. The first looks at how history and politics are woven into Reznikoff’s work, namely Reznikoff’s complex relationship with Jewish American identity in the 20th century. The second section turns to documentary poetics and to Reznikoff’s practice of composing from historical and well as legal documents, in the context of modernist concerns over realism as well as contemporary ones over memory and appropriation. The third section delves into the concept of verse—Reznikoff’s word for the lyric—showing how Reznikoff’s rhythms compose an abstract yet accurate vernacular portrait of America. It places Reznikoff among his fellow poets, known as the Objectivists, and in relation to larger issues pertaining to the rhythmic fabric of free verse and the aesthetic vocabularies of the spare and the ordinary. The fourth opens onto issues of translation, and Reznikoff’s work’s journey through Mexican, Polish and French contexts, illustrating Reznikoff’s ongoing transnational relevance. The volume concludes with a foray into some of Reznikoff’s afterlives, in the work Paul Auster—an early champion of Reznikoff’s method—and through the history of Reznikoff’s complex engagement with the African American experience, the representation of injustice and testimony as a dialogical means of witnessing intended to foster a sense of community.

The Plain Sunlight of His Verse

Reading Charles Reznikoff

Shannon Wells-Lassagne

This book engages with Margaret Atwood’s work and its adaptations. Atwood has long been appreciated for her ardent defence of Canadian authors and her genre-bending fiction, essays, and poetry. However, a lesser-studied aspect of her work is Atwood’s role both as adaptor and as source for adaptation in media as varied as opera, television, film, or comic books. Recent critically acclaimed television adaptations of the novels The Handmaid’s Tale (Hulu) and Alias Grace (Amazon) have rightfully focused attention on these works, but Atwood’s fiction has long been a source of inspiration for artists of various media, a seeming corollary to Atwood’s own tendency to explore the possibilities of previously undervalued media (graphic novels), genres (science-fiction), and narratives (testimonial and historical modes). This collection hopes to expand on other studies of Atwood’s work or on their adaptations to focus on the interplay between the two, providing an interdisciplinary approach that highlights the protean nature of the author and of adaptation.

Fiona McMahon

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