Contemporary Poetry and Comparative Iterature

odern poetry has a complicated relation to both the original and the repetitive. On one hand, as Marjorie Perloff argues, “we expect our poets to produce words, phrases, images, and ironic locutions that we have never heard before.”1 On the other hand, repetition, the “already heard,” is a central feature of poetic language―from the recursivity of rhyme schemes to the patterned reiterations of tropes such as chiasmus, anadiplosis, and epistrophe. Just as intratextual repetition can “set up expectations and guide interpretation” within any given poem, the repetitions of forms, genres, and topoi throughout a diachronic tradition can create a sense of discursive continuity within change.2 From a readerly standpoint, the recognition of repetition can be reassuring, even pleasurable. The danger is that too much repetition, formal or otherwise, risks a deadening predictability. As Williams Carlos Williams polemically stated in 1944, “To me all sonnets say the same thing of no importance.” It is no surprise, then, that standard narratives of modernism have tended to highlight a Poundian poetics of making it new, of breaking free