Page Richards

How did fears of cultural inadequacy play out in the English language after American independence and the War of 1812? Like many of his nineteenth-century contemporaries, essayist Walter Channing suggests that the country's perceived deficiency in literature is due to a crucial overlap with England, that is, having “the same language with a nation, totally unlike it in almost every relation.” In Distancing English, Page Richards shows how these concerns of language are historically interwoven with the inexpressible. Often overlooked, the topos of the inexpressible redirects the ventriloquism of the English language. From its beginning, this topos combines the hyperbole of high expectations with the failure of inadequate words. In Charles Brockden Brown or George Tucker, it can register deficiency of “character” on and off the page, establishing important strategies of decenteredness also associated with modernism. In writers such as Nathaniel Hawthorne, Wallace Stevens, and John Berryman, the inexpressible seizes advantage from disadvantage. It runs through literary framing strategies and flexible shaggy dog humor. An opening to the 1855 Leaves of Grass, Walt Whitman's Preface remaps the topos andemerges as a distinguished moment in the articulation of the inexpressible.

A Chapter in the History of the Inexpressible

Distancing English

Shirley Geok-lin Lim

One book to be read two ways! * A delightful collection of children's poems. * Ideas on inspiring creativity in young people. 160 children took part in poetry writing workshops led by a group of Hong Kong's foremost poets. Their poems shed an intriguing light on life in Hong Kong, seen by a new generation. This anthology has a particular significance for parents and teachers. It shows that using English freely and creatively is an important step towards full command of the language. The poet-editors convey the fun of this venture and explain the techniques used to encourage the children's natural creativity. Their essays provide a source of ideas for teachers interested in exploring creative writing. Another section of poems by the poet-teachers and undergraduate assistants drawn from the creative writing classes at the University of Hong Kong provides added pleasure for the poetry lover. This collection, showcasing the talents of budding young Hong Kong poets, projecting their powerful and diverse voices into the future, is for people who enjoy poetry and for those who wish to nurture the natural creativity of children. “Beautiful poems, an admirable project.” —Kenneth Koch, Professor of English and Comparative Literature at Columbia University, author of Wishes, Lies, and Dreams “From a uniquely vibrant place, where ancient cultures coincide with one another and with our planet’s future, comes this collection of poems: energetic, surprising, direct, subtle—in a word, moving. The volume brings together the fundamental art of poetry and the transforming spirit of youth.” —Robert Pinsky, Professor of English at Boston University, Poet Laureate of the United States 1997–2000 “Moving Poetry is an ambitious and heartening collection, sometimes funny, sometimes melancholy, invariably expert. It proves once again the value of encouraging young people to stretch their imaginations, and proves how great is the benefit to us all.” —Andrew Motion, Professor of Creative Writing at the University of East Anglia, Poet Laureate of Great Britain

Page Richards

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