UCLA UCLA Previously Published Works Title Transpacific Poetics: Ideographic and Prosodic Transpositions in Li- Young Lee’s “Persimmons” and Marilyn Chin’s “Summer Sleep” Permalink https://escholarship.org/uc/item/70j061wc Journal University of Toronto Quarterly, 88(2) ISSN 0042-0247 Authors Cheung, King-Kok Huang, Qinghua Publication Date 2019-08-01 DOI 10.3138/utq.88.2.11 Peer reviewed eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF TORONTO QUARTERLY Volume 88, Number 2, Spring 2019 jonathan locke hart and ming xie World Poetics and Comparative Poetics 91 j. hillis miller Poetics Today? 101 haun saussy A Poetics of Global Trolling 112 sonam kachru and jane mikkelson The Mind Is Its Own Place: Of Lalla’s Comparative Poetics 125 ardis butterfield Medieval Lyric: A Translatable or Untranslatable Zone? 142 tom conley A Pulmonary Machinery: Béroalde de Verville, Les Soupirs amoureux (1583) 160 timothy j. reiss An American-European Road not Taken, or Opportunity Lost? Areitos, Pictographs, and History: Poetics and Politics 177 david a. porter The Early Modern Lyric: A Literary Wilderness of World Literature 195 jahan ramazani Persian Poetry, World Poetry, and Translatability 210 jonathan locke hart Poetry in English as Comparative and World Literature 229 king-kok cheung and qinghua huang Transpacific Poetics: Ideographic and Prosodic Transpositions in Li-Young Lee’s “Persimmons” and Marilyn Chin’s “Summer Sleep” 246 jacob edmond Global Rhythms: Setting the Stage for World Poetry in 1960s London 263 ranjan ghosh Plastic Literature 277 romana huk “A New Global Poetics?” Revisited, Ten Years on: Coming to Terms 292 UNIVERSITY OF TORONTO QUARTERLY Top Downloaded Articles (Source: Project MUSE, 2004–18) ‘Just a Backlash’: Margaret Atwood, Out on Highway 61: Existentialism Feminism, and The Handmaid’s Tale in America (74.4, 2005) (75.3, 2006) Dionne Brand’s Global Intimacies: Rethinking Sexuality and Class in Practising Affective Citizenship Twelfth Night (76.2, 2007) (76.3, 2007) Learning to Talk with Ghosts: Literature Reads Theory: Remarks Canadian Gothic and the Poetics on Teaching with Toni Morrison of Haunting in Eden Robinson’s (74.3, 2005) Monkey Beach (75.2, 2006) The Spirit of Toys: Resurrection Helpless Maidens and Chivalrous and Redemption in Toy Story Knights: Afghan Women in the and Toy Story 2 (74.4, 2005) Canadian Press (78.2, 2009) Autism Fiction: A Mirror of an What If? Writing The Handmaid’s Tale Internet Decade? (79.2, 2010) (75.3, 2006) Talking with Ghosts: Haunting Ethics, Knowledge, and the Need for in Canadian Cultural Production Beauty: Zadie Smith’s On Beauty and (75.2, 2006) Ian McEwan’s Saturday (77.2, 2008) Responsibility, Nostalgia, and the Mythology of Canada Access UTQ’s complete as a Peacekeeper (78.2, 2009) archive at UTQ Online Haunting Physicality: Corpses, uptjournals.press/utq Cannibalism, and Carnality in Margaret Atwood’s Alias Grace and at Project MUSE (75.2, 2006) http://bit.ly/UTQpm utpjournals.press university of toronto quarterly colin hill Editor sebastien drouin, linda hutcheon, and michel lord Associate Editors henry ivry Editorial Assistant EDITORIAL ADVISORY BOARD Professors Robin Elliott, Pierre Karch, Charlie Keil, A.M. Keith, Mark Kingwell, Christina Kramer, Julie LeBlanc, Elizabeth Legge, Laurel MacDowell, Nick Mount, Keren Rice, Lawrence Switzky, S.J. Rupp, Mario J. 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This consent does not extend to other kinds of copying, such as copying for general distribution, for advertising or promotional purposes, for creating new collective works, or for resale. Cover photos by Tamara Hawkins. www.utpjournals.com cn-issn 0042-0247 printed in canada © university of toronto press 2019 All rights reserved. Permission to reproduce in whole or in part must be obtained in writing from University of Toronto Press jonathan locke hart and ming xie World Poetics and Comparative Poetics ABSTRACT: Possibly, there cannot be some kind of comprehensive or systematic view of comparative poetry or world poetry but that is not what we are suggest- ing here. The main idea of this special issue is to encourage distinguished scholars to explore the idea in their own way or to interpret particular examples of the comparative and the global in poetics – that is, the theory and practice of poetry – hence, the debate and the conversation among the articles. These multiple points of view open up discussion in many ways that should prompt others to think and 10.3138/utq.88.2.01 work more in the area. Thus, the issue is an exploration and not some fixed theory of comparative and world poetry. Moreover, poetry matters in its vulnerability, fragility, and alternatives or possibilities. Poems – their writing and their reading – 88 are at the heart of this exploration. Almost all of the contributors to this special issue address poems and pay close attention to them. 2 KEYWORDS: world; comparative; poetics; poetry; literature; genre; translation Poetry is perhaps a more neglected genre of world literature than others because poetry does not translate well. Poetry seems to be stubbornly rooted in its native language and embedded in its original cultural context. Thus, it is paradoxical to speak of world poetry as being uprooted or root- lessly “generic,” as some critics have claimed. World poetry has variously been described and evoked as international, transnational, postcolonial, global, or planetary. All of these labels capture some aspects of what world poetry might be; yet they are not quite the same as what is meant by “world poetry.” The “world” still seems to remain an unsurpassable horizon, which seems to “withdraw” as you approach it. Moreover, moving towards the world is always entangled in the essential condition of being already in the world. Currently, there are at least three main operative connotations of world poetry: (1) the sum total of all national or regional poetries, (2) international poetry in circulation and translation, historical and contemporary, and (3) a more restrictive canonical status bestowed upon poets and poetry of international reputation. However, the term “world poetry” does not inno- cently mean a coherent body of literature; recognizing its numerous sources or components does not necessarily imply recognizing its problematics. “Poetics,” which is central to the idea of world poetry, has often been tied to Western theories. “World poetry” is usually taken to mean poetry of the “rest of the world,” apart from Anglo-American or Euro-American poetry. university of toronto quarterly, volume 88, number 2, spring 2019 © university of toronto press doi: 10.3138/utq.88.2.01 92 jonathan locke hart and ming xie But world poetry does not merely supply raw untheorized material for a Western-dominated poetics. Rather, world poetry needs to be seen as an active mode or means of re- thinking and expanding poetics that has been defined by any single literary tradition. This also means that the world in world poetry becomes a non-place from which, paradoxically, the real world discloses and opens itself up for us differently again and again. World poetry offers a model of poetic practice as a space or mode of writing in which the real may present itself and be made available to any reader in any language. Yet this does not contradict the prop- osition that world poetry is concerned with forms of common understanding and feeling