Description
Book SynopsisTrade Review"What broader lessons does
Sound Writing hold? As I have said, Wilke counters
familiar stories about the disruptiveness of modernisms with an account of
continuity, showing how sound poets looked back to Romanticism, amongst other
things. But the passion of his study is perhaps to show that one needn’t choose between the two, because rupture and continuity are united by a dialectic." * American Literary History *
"Along with studying 'multiple avant-garde strategies for reducing poetry to its most elemental conditions in vocal sound production,' Wilke also carefully explores scientific approaches to the production of vocal sound in order to demonstrate how poets 'appropriat[ed] scientific-experimental concepts and techniques.'" * Modern Philology *
"A singular achievement for German studies and literary studies at large, Wilke’s important work also makes meaningful and original interventions in Media Studies, Art history, sound studies, linguistic anthropology, and history of science and technology." * Germanic Review *
"The book is an important addition to other studies developed at the Leibniz-Zentrum für Literatur- und Kulturforschung that engage with science and literature and is of relevance to cultural studies, sound studies, modernist, and avant-garde studies alike." * German Quarterly *
“This excellently researched and lucidly written study will make a substantive contribution to modern literary studies. Through wonderful formulations and analyses, Wilke illuminates fascinating technical innovations in sound writing and links them to poetic engagement and practices. This is in every respect a delightful and important contribution to modern literary and cultural studies.” -- Johanna Drucker, author of Inventing the Alphabet
“
Sound Writing presents a new understanding of what is often called the ‘nonsense poetry’ of the early twentieth-century avant-garde and its intellectual background, as well as its echoes in later avant-gardes. In telling this story, Wilke draws on underexplored sources and draws out new causal lines. With Language Poetry, translingualism, collage, conceptual writing, and artificial intelligence on our minds, the topic of the book cannot be ignored, and Wilke’s contribution is sure to be widely read and discussed.” -- Haun Saussy, author of Are We Comparing Yet?
Table of ContentsIntroduction
1. Voice Figures: Visible Sound and the Poetics of Articulation (1787–1965)
Oaoa, or The Eidophonetic Poem
Vibrating Disks and Primary Letters
Photographing Speech
2. Toward a Science of Verse: Speech Movements, Graphic Inscription, and the Study of Poetry (1871–1915)
Writing of the Mouth
“The Art of Reading Curves”
Symbolic Sounds
3. Mama—Papa—Dada: Poetic Expression at the Threshold of Language (1916–1947)
Remaking Verse in the Vocal Tract
From Babble to Gesture to Word (and Back)
E dada: Reading Graphic Articulations
Birdsong in Translation
4.
Verbi-Voco-Visual Explorations: Experimental Modernism in a Technical Age (1947–1967)
“Visible Speech” between Body and Bits
Rearticulating Poetic Experimentation
Beyond Lineality, or The Expansion of Writing
Acknowledgments
Bibliography
Index
