Infrathin: An Experiment in Micropoetics
āļ.āļĒ. 2021 · University of Chicago Press
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Esteemed literary critic Marjorie Perloff reconsiders the nature of the poetic, examining its visual, grammatical, and sound components.
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The âinfrathinâ was Marcel Duchampâs playful name for the most minute shade of difference: that between the report of a gunshot and the appearance of the bullet hole, or between two objects in a series made from the same mold. âEatâ is not the same thing as âate.â The poetic, Marjorie Perloff suggests, can best be understood as the language of infrathin. For in poetry, whether in verse or prose, words and phrases that are seemingly unrelated in ordinary discourse are realigned by means of sound, visual layout, etymology, grammar, and construction so as to âmake it new.â
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In her revisionist âmicropoetics,â Perloff draws primarily on major modernist poets from Stein and Yeats to Beckett, suggesting that the usual emphasis on what this or that poem is âabout,â does not do justice to its infrathin possibilities. From Goetheâs eight-line âWandererâs Night Songâ to Eliotâs Four Quartets, to the minimalist lyric of Rae Armantrout, Infrathin is designed to challenge our current habits of reading and to answer the central question: what is it that makes poetry poetry?
Â
The âinfrathinâ was Marcel Duchampâs playful name for the most minute shade of difference: that between the report of a gunshot and the appearance of the bullet hole, or between two objects in a series made from the same mold. âEatâ is not the same thing as âate.â The poetic, Marjorie Perloff suggests, can best be understood as the language of infrathin. For in poetry, whether in verse or prose, words and phrases that are seemingly unrelated in ordinary discourse are realigned by means of sound, visual layout, etymology, grammar, and construction so as to âmake it new.â
Â
In her revisionist âmicropoetics,â Perloff draws primarily on major modernist poets from Stein and Yeats to Beckett, suggesting that the usual emphasis on what this or that poem is âabout,â does not do justice to its infrathin possibilities. From Goetheâs eight-line âWandererâs Night Songâ to Eliotâs Four Quartets, to the minimalist lyric of Rae Armantrout, Infrathin is designed to challenge our current habits of reading and to answer the central question: what is it that makes poetry poetry?
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Marjorie Perloff is the Sadie Dernham Patek Professor of Humanities Emerita at Stanford University and the Florence R. Scott Professor of English Emerita at the University of Southern California. She is the author of many books on poetry, including Radical Artifice, Wittgensteinâs Ladder, and Unoriginal Genius.
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