This essay applies a Cultural Studies-approach to the multi-facetted relationship between poetry and advertisement as it emerged in the first half of the 20th century in the United States and as it became visible on billboards by the roadside. Somewhat paradoxically, public poetry in advertising appeared all across the United States (predominantly along highways in rural areas) around the time that much of modernist American poetry was being declared a highly elitist and urban centric affair in the orbit of new criticism-scholarship at universities. My first case study addresses the iconic Burma-Shave Billboard Poetry Campaign (1929-1963) and its long-lasting influence on American (popular) culture – in literature, music, visual art. Prior to this campaign as well as on the heels of it, billboards and billboard poetry were taken up to a minor extent in poetry circles and literary criticism (where they continued to be mostly viewed with disdain) and to a larger extent by conceptual artists who used billboard aesthetics, slogans, and short (poetic) texts in installations mimicking and critiquing consumer culture. One of the most aesthetically innovative recent ‘returns’ of billboard poetry, however, is the one employed intra-diegetically in the Hollywood film “Three Billboards Outside of Ebbing, Missouri” (2017), my second case study. Here, the writing on the billboard-walls make those aspects explicit that have been submerged in the earlier rhymes by the roadside: While the playful, optimistic lines of advertisement imply, time and again, a happy white middle-class American family with a sober and well-shaved patriarch behind the wheel and thus gloss over the disavowed underside of mobility, the film makes the latent manifest and points to systemic / structural violence, such as a pervasive American rape ‘culture’ which is linked to the car and the mobility it offers. The film uses the billboard and its inscription as foil and as catalyst to address and to protest this and other forms of violence and thus presents an activist intervention in order to ask for more than merely poetic justice.

This essay identifies a shared response to news media in poetry written over the past three decades by writers working in Chinese, Russian, and English. These poets often directly incorporate texts and images from news media into their work. Some scholars have argued that this tendency towards the collaging of texts derived from news and social media reflects a shift in poetic subjectivity. However, when seen from a comparative perspective, these and other cut-ups of news and social media are better understood as, on the one hand, an extension of a much longer tradition of literary and artistic responses to the news and, on the other, a renewal of that tradition in response to the intensification of the intertwined pressures of new media and globalization since the end of the Cold War and the rise of the Internet. The article identifies this shared response to media and globalization among a variety of examples in Chinese, Russian, and English, including Kirill Medvedev’s «Текст, посвященный трагическим событиям 11 сентября в Нью-Йорке» (“Text Devoted to the Tragic Events of September 11 in New York”); Stanislav Lvovsky’s «Чужими словами» (“In Other Words”); Dmitri Prigov’s «По материалам прессы» (“Based on Material from the Press”) and “ru.sofob (50 x 50)”; Lin Yaode’s 林燿德 “Er erba” 《二二八》(“February 28”), Hsia Yü 夏宇 and her collaborators’ group project “Huadiao huadiao huadiao” 《劃掉劃掉劃掉》 (“Cross It Out, Cross It Out, Cross It Out”), Yan Jun’s 顏峻 2003 multi-media video performance “Fan dui yiqie you zuzhi de qipian” 《反对一切有组织的欺骗》 (“Against All Organized Deception”); online video poetry produced in response to the 2008 Sichuan earthquake; and Brian Kim Stefans’s mashup of “New York Times” articles with texts from the Situationist International. On the one hand, these texts operate between various media and art forms: between poetry and contemporary art, music, journalism, and social media, between the print newspaper and digital file, between the webpage and live performance, and between image and text. But on the other hand, and inextricably, they also operate within global information networks. They are better understood as addressing not the transformation of the poetic subject but the undoing of the boundaries of poetry and of the concept of a nationally defined literature.

The article offers a preliminary investigation of the phenomenon of female-authored ‘poetry theater’ (shige juchang)1 in the People’s Republic of China. It discusses cross-genre explorations by a group of female poets, theater directors and artists who are all associated with the movement of ‘women’s poetry’ (nüxing shige) that emerged in the 1980s in China. The discussion focuses on two performances based on female-authored poems, “Riding a Roller Coaster Flying Toward the Future” (2011) and “Roaming the Fuchun Mountains with Huang Gongwang” (2016), which resulted from the joint efforts of four women: the poet Zhai Yongming, the poet-scholar Zhou Zan, and the theater directors Cao Kefei and Chen Si’an. Their avant-garde experiments with poetical theater document the different ways in which poetry is being translated into images, sounds, or bodily movements on stage. The paper argues that poetic exploration of writing and reciting practices has gained new momentum from emerging intermedial, visual-verbal experiments. Furthermore, it claims that interest in ‘poetry theater’ is also driven by the search for new forms of cross-genre stage performances that could be different from the previously politicized or commercialized ones.

Starting from the imperative to not just read, but to speak lyric poems out loud, this paper considers ways in which poems change depending on who utters them. Beyond the familiar distinction between the poem’s author and the lyrical ‘I’ – the voice in which the poet chooses to utter the poem – any performer who speaks a poem also impersonates the text. Reading is the first act of interpretation; others follow. Sound is an indispensable constitutive aspect of the lyric poem, too often neglected. Each reading of a poem can turn into a momentary ec-stasis.

A new genre has emerged in contemporary literature: the ‘novel in poems.’ This genre hybridizes the novel and poetry in order to construct characters and a plot through relatively autonomous poems in series. The ‘novel in poems’ appears in different subtypes, which can be categorized according to the following criteria: (1) the presence of one speaker versus several speakers, (2) the presence of a speaker as lyric protagonist and/or narrator, and (3) the presence of a blend of distinct modes of lyric, narrative, and dramatic representation in various forms of combination. Specific characteristics of the ‘novel in poems’ are: 1) variation of constituent poetic forms with different degrees of semantic autonomy and brevity; 2) hyper-structuring through symmetries, holism, and equivalences; 3) a tendency to differentiate mediating instances within the text; 4) the reduction or elimination of the narrator or of narrative principles and the use of an omnipresent textual subject; 5) the presence of metapoetic reflections on topics such as poetry and creativity; 6) an emphasis on voice, person, and subjectivity; 7) episodic plot construction through montage techniques and a tendency toward chronological order; 8) the predominance of present speech and action; 9) contradictions between the speaker as subject and addresser, via the lyric fiction of performativity, and the function of narration; 10) a necessity imposed upon the reader to reconstruct the plot and characters. This essay establishes three subtypes within the proposed genre: a lyric ‘novel in poems’ with one speaker (Irina Ermakova), a polyphonically narrative ‘novel in poems’ that combines third-person narration with several alterior speakers (Lana Hechtman Ayers), and, finally, a dramatic ‘novel in poems’ with shifting primary speakers (Glyn Maxwell).