Recite And Refuse

Chinese prose poetry today is engaged with a series of questions that are fundamental to the modern Chinese language: What is prose? What is it good for? How should it look and sound? Millions of Chinese readers encounter prose poetry every year, both in the most official of state-sponsored magazines and in the unorthodox, experimental work of the avant-garde. Recite and Refuse makes the answers to our questions about prose legible by translating, surveying, and interpreting prose poems, and by studying the people, politics, and contexts that surround the writing of prose poetry. Author Nick Admussen argues that unlike most genres, Chinese prose poems lack a distinct size or shape. Their similarity to other prose is the result of a distinct process in which a prose form is recited with some kind of meaningful difference—an imitation that refuses to fully resemble its source. This makes prose poetry a protean, ever-changing group of works, channeling the language of science, journalism, Communist Party politics, advertisements, and much more. The poems look vastly different as products, but are made with a similar process. Focusing on the composition process allows Admussen to rewrite the standard history of prose poetry, finding its origins not in 1918 but in the obedient socialist prose poetry of the 1950s. Recite and Refuse places the work of state-sponsored writers in mutual relationship to prose poems by unorthodox and avant-garde poets, from cadre writers like Ke Lan and Guo Feng to the border-crossing intellectual and poet Liu Zaifu to experimental artists such as Ouyang Jianghe and Xi Chuan. The volume features never-before seen English translations that range from the representative to the exceptional, culminating with Ouyang Jianghe’s masterpiece “Hanging Coffin.” Reading across the spectrum enables us to see the way that artists interact with each other, how they compete and cooperate, and how their interactions, as well as their creations, continuously reinvent both poetry and prose.

This work argues that Chinese prose poems lack a distinct size or shape. Their similarity to other prose is the result of a distinct process in which a prose form is recited with some kind of meaningful difference - an imitation that refuses to fully resemble its source. This makes prose poetry a protean, ever-changing group of works, channelling the language of science, journalism, Communist Party politics, adverts, and much more.

Saluting the flag in public schools began as part of a national effort to Americanize immigrants. Here, Richard Ellis unfurls the history of the Pledge of Allegiance and of the debates and controversies that have sometimes surrounded it.

William McGonagall was born in Edinburgh in 1830. His father was a poor hand-loom weaver, and his work took his family to Glasgow, then to Dundee. William attended school for eighteen months before the age of seven, and received no further formal education. Later, as a mill worker, he used to read books in the evening, taking great interest in Shakespeare's plays. In 1877, McGonagall suddenly discovered himself 'to be a poet'. Since then, thousands of people the world over have enjoyed the verse of Scotland's alternative national poet. This volume brings together the three famous collections – Poetic Gems, More Poetic Gems and Last Poetic Gems, and also includes an introduction by Chris Hunt, the webmaster of the McGonagall website www.mcgonagall-online.org.uk, indexes of poem titles and first lines, and features the first publication of McGonagall's only play, Jack o' the Cudgel, written in 1886 but not performed publicly until 2002.