The Commons

Between the sixteenth and eighteenth centuries, most of the English common lands were enclosed—taken, by force, out of the hands of local collective use and privatized. The resistance to capitalism’s “primitive accumulation,” registered in recurring peasant revolts, failed to stem this tide of what we now call “privatization”—but it spilt over into Romanticism’s own advocacy of a kind of literary commons. Underground in “the literary” since the nineteenth century, the fight against enclosure resurfaces today amidst continuing capitalist accumulations and a renascent sense of the commons under globalization.

In The Commons we wander the English countryside with the so-called mad peasant poet John Clare, just escaped from an Essex asylum and walking the more than eighty miles to his home in Helpston; we pick wild fruit with anarchist Henry David Thoreau, also newly escaped from jail (for not paying his poll tax); and we comb the English Lake District, undermining William Wordsworth’s proprietary claim upon it, with a host of authors of Romantic Guides and Tours.

Resisting enclosure with each word, tearing down (intellectual) property’s fencing, wandering in search of new commons, new spaces outside property’s exclusive and excluding domain—The Commons veers in and out of history to find spaces of linguistic hope. What we have named, in less inspired moments, “allusion,” “borrowing,” or even (pretentiously) “intertextuality” is just this fact that poetry proves again and again: our languages are common. Shared. Un-enclosable.

The Commons is another installment of what Collis has called (half in jest) “The Barricades Project”—a broadly based, historically ranging test of the old adage that “poetry is the revolutionary act par excellence.” It includes Anarchive (2005) and will eventually continue in The Red Album. The Commons includes an introduction to “The Barricades Project,” written by Collis’ collaborators Alfred Noyes and Ramon Fernandez.

1103177167
The Commons

Between the sixteenth and eighteenth centuries, most of the English common lands were enclosed—taken, by force, out of the hands of local collective use and privatized. The resistance to capitalism’s “primitive accumulation,” registered in recurring peasant revolts, failed to stem this tide of what we now call “privatization”—but it spilt over into Romanticism’s own advocacy of a kind of literary commons. Underground in “the literary” since the nineteenth century, the fight against enclosure resurfaces today amidst continuing capitalist accumulations and a renascent sense of the commons under globalization.

In The Commons we wander the English countryside with the so-called mad peasant poet John Clare, just escaped from an Essex asylum and walking the more than eighty miles to his home in Helpston; we pick wild fruit with anarchist Henry David Thoreau, also newly escaped from jail (for not paying his poll tax); and we comb the English Lake District, undermining William Wordsworth’s proprietary claim upon it, with a host of authors of Romantic Guides and Tours.

Resisting enclosure with each word, tearing down (intellectual) property’s fencing, wandering in search of new commons, new spaces outside property’s exclusive and excluding domain—The Commons veers in and out of history to find spaces of linguistic hope. What we have named, in less inspired moments, “allusion,” “borrowing,” or even (pretentiously) “intertextuality” is just this fact that poetry proves again and again: our languages are common. Shared. Un-enclosable.

The Commons is another installment of what Collis has called (half in jest) “The Barricades Project”—a broadly based, historically ranging test of the old adage that “poetry is the revolutionary act par excellence.” It includes Anarchive (2005) and will eventually continue in The Red Album. The Commons includes an introduction to “The Barricades Project,” written by Collis’ collaborators Alfred Noyes and Ramon Fernandez.

17.95 In Stock
The Commons

The Commons

by Stephen Collis
The Commons
Add to Wishlist
The Commons

The Commons

by Stephen Collis

Overview

Between the sixteenth and eighteenth centuries, most of the English common lands were enclosed—taken, by force, out of the hands of local collective use and privatized. The resistance to capitalism’s “primitive accumulation,” registered in recurring peasant revolts, failed to stem this tide of what we now call “privatization”—but it spilt over into Romanticism’s own advocacy of a kind of literary commons. Underground in “the literary” since the nineteenth century, the fight against enclosure resurfaces today amidst continuing capitalist accumulations and a renascent sense of the commons under globalization.

In The Commons we wander the English countryside with the so-called mad peasant poet John Clare, just escaped from an Essex asylum and walking the more than eighty miles to his home in Helpston; we pick wild fruit with anarchist Henry David Thoreau, also newly escaped from jail (for not paying his poll tax); and we comb the English Lake District, undermining William Wordsworth’s proprietary claim upon it, with a host of authors of Romantic Guides and Tours.

Resisting enclosure with each word, tearing down (intellectual) property’s fencing, wandering in search of new commons, new spaces outside property’s exclusive and excluding domain—The Commons veers in and out of history to find spaces of linguistic hope. What we have named, in less inspired moments, “allusion,” “borrowing,” or even (pretentiously) “intertextuality” is just this fact that poetry proves again and again: our languages are common. Shared. Un-enclosable.

The Commons is another installment of what Collis has called (half in jest) “The Barricades Project”—a broadly based, historically ranging test of the old adage that “poetry is the revolutionary act par excellence.” It includes Anarchive (2005) and will eventually continue in The Red Album. The Commons includes an introduction to “The Barricades Project,” written by Collis’ collaborators Alfred Noyes and Ramon Fernandez.

Product Details

ISBN-13: 9780889229167
Publisher: Talonbooks, Limited
Publication date: 05/10/2016
Sold by: Barnes & Noble
Format: eBook
Pages: 152
File size: 3 MB

About the Author

Stephen Collis
Stephen Collis is the author of four books of poetry, Mine (New Star 2001), Anarchive (New Star 2005), which was nominated for the Dorothy Livesay Poetry Prize, The Commons (Talonbooks 2008)—the latter two forming parts of the on-going “Barricades Project”—and On the Material (Talonbooks 2010).


Stephen Collis is the author of over a dozen books of poetry and prose, including The Commons (2008), On the Material (2010), winner of the BC Book Prize, and Almost Islands: Phyllis Webb and the Pursuit of the Unwritten (2018) – all published by Talonbooks. A History of the Theories of Rain (2021) was a finalist for the Governor General’s Literary Award for Poetry, and in 2019 Collis was the recipient of the Writers' Trust of Canada Latner Poetry Prize. The Middle is the second volume of a trilogy begun with A History of the Theories of Rain. He lives near Vancouver, on unceded Coast Salish Territory, and teaches poetry and poetics at Simon Fraser University.

Table of Contents

I. At the Fence of Poetry

The Frostworks
Dear Common

II. The Commons

Clear as Clare
Blackberries
The Lakes

III. Right of Shack

Dear Common: Letter from Being
Dear Common: ¡Ya Basta!

Of Blackberries and the Poetic Commons


Acknowledgements

Sources

What People are Saying About This

From the Publisher

"Words like beauty, pleasure, and liberty do not sound hackneyed. Instead, their writing sounds synonymous with persistence. Collis is slightly off-step/beat, just out of range of any comfortable assumption, and a good shuffle away from clear understanding. This is not poetry that leads, but includes. It is a welcome philosophical divergence in popular culture."
— Prairie Fire Review of Books

From the B&N Reads Blog
Page 1 of

Related Subjects

Poetry
Canadian Poetry
Poetry
Canadian Poetry

Customer Reviews