Reviewed by:

• Fair Copy: Relational Poetics and Antebellum American Women's Poetry by Jennifer Putzi
• Wendy Raphael Roberts (bio)

Jennifer Putzi's Fair Copy: Relational Poetics and Antebellum American Women's Poetry expertly engages the composition, publication, and circulation of women's printed poetry to produce a far-reaching theory and methodology of relational poetics as radical recovery. Moving with graceful nimbleness between this overarching framework and a precision born of copious archival work, Putzi offers a compelling narrative of women's engagement with print and its various networks and relations—a story unknown in part because studies of nineteenth-century women's authorship have primarily focused on prose and in part because of a scholarly emphasis on originality and individuality. Putzi's account of what she calls "unremarkable poetry"—that which aims at imitation rather than invention—produced by women poets in their particular gendered, classed, and [End Page 196] raced negotiations with authorship is a remarkable contribution to the study of American poetry.

Putzi joins a company of scholars such as Claudia Stokes, William Huntting Howell, Ezra Tawil, Alexandra Socarides, Kerry Larson, Eliza Richards, and Colin Wells who add to our understanding of nineteenth-century poetic culture as one that was deeply invested in imitation. She builds on the transformative work done by book history scholars, including Michael Winship, Meredith McGill, and Leon Jackson, as well as Virginia Jackson's theory that the lyric sublimates social mediations, to construct her concept of "relational poetics" (12). Relational poetics is first a theory that shaped antebellum women poets and second a scholarly methodology Putzi employs that arises from this archive. At its core it emphasizes "imitation, community, and collaboration … in poems themselves, in the avenues women poets take to gain access to print, and in the way their poems function within a variety of print cultural contexts" (1). Putzi turns from the figure of the nineteenth-century woman poet to the real labor of women poets within particular communities and then, taking her cues from the poems themselves, nimbly demonstrates how to read such poems as negotiations with various encumberments to authorship, print, and audience engagement.

Fair Copy begins with the ubiquitous poet, Lydia Huntley Sigourney, to establish the prevalence of relational poetics and then moves to four less read poets and poetic communities as test cases "to demonstrate the radical potential of this reframing of the critical lens" (17). Starting with Sigourney, the "American [Felicia] Hemans," allows Putzi to describe the ways that literary originalism and nationalism worked for and against Sigourney's consistent embrace of repetition, cyclicality, and audience engagement. One highlight of the chapter is how Putzi traces the misattribution of "Death of an Infant" to Sigourney in order to underscore the "continual and creative performance of poetic authorship" in each discrete appearance of the poem, as well as the sustaining pleasures her readers took in such questions (43). Establishing Sigourney's relational poetics against this backdrop of literary nationalism peels back the assumption of romantic conceptions of authorship as well as of the lyric poet, which then provides the momentum for the book to begin a multipronged foray into the composition, publication, and circulation of other women poets.

A poetic community well-known to scholars invested in working-class women, the mill girls of the Boston Manufacturing Company who published [End Page 197] the Lowell Offering between 1840 and 1845, comprises chapter 2. Putzi argues that previous assessments of these working-class poets as simply imitators aspiring to gentility and literariness does them a grave disservice, as it does not take into account that the poets were keenly aware of such criticisms already. Rather, the Offering poets wore their imitative practices on their sleeves and "claimed both the reading and the writing of poetry as a classless activity" (62). Offering poets transferred poetic practices of the domestic parlor to the space of the factory—clipping, pasting, and scrap-booking poetry onto the walls and machinery and internalizing it as their own; or, as Putzi writes, "literalizing the notion of the newspaper's 'poet's corner'" (72). Through...

审阅者：

• 公平副本：詹妮弗·普茨的关系诗学和战前美国女性诗歌
• 温迪·拉斐尔·罗伯茨（简介）

詹妮弗·普茨（Jennifer Putzi）的《公平副本：关系诗学和战前美国女性诗歌》巧妙地涉及女性印刷诗歌的创作、出版和发行，以产生影响深远的关系诗学理论和方法论，作为彻底的恢复。普茨在这个总体框架和大量档案工作所产生的精确性之间灵活地移动，对女性与印刷品及其各种网络和关系的参与进行了令人信服的叙述——这个故事部分不为人知，因为对十九世纪女性作者身份的研究主要集中在散文的部分原因是学术上对原创性和个性的重视。普茨对她所谓的“不起眼的诗歌”的描述——旨在模仿而不是发明的——由女诗人在她们特定的性别、阶级和[完第196页]与作者的谈判中创作，这是对美国诗歌研究的杰出贡献。诗歌。

普茨加入了克劳迪娅·斯托克斯、威廉·亨廷·豪厄尔、埃兹拉·塔维尔、亚历山德拉·索卡里德斯、克里·拉尔森、伊丽莎·理查兹和科林·威尔斯等学者的行列，他们加深了我们对十九世纪诗歌文化的理解，认为它是一种高度模仿的文化。她以迈克尔·温希普（Michael Winship）、梅雷迪思·麦吉尔（Meredith McGill）和莱昂·杰克逊（Leon Jackson）等图书史学者所做的变革性工作以及弗吉尼亚·杰克逊（Virginia Jackson）的抒情诗升华社会中介的理论为基础，构建了她的“关系诗学”概念（12）。关系诗学首先是一种塑造了战前女性诗人的理论，其次是普茨所采用的一种源自该档案的学术方法论。它的核心强调“模仿、社区和合作……在诗歌本身，在女性诗人获得印刷品的途径，以及她们的诗歌在各种印刷文化背景下的运作方式”(1)。普茨从十九世纪女诗人的形象转向特定社区中女诗人的真实劳动，然后从诗歌本身中汲取灵感，灵活地演示了如何阅读此类诗歌，例如与作者身份、印刷、出版等方面的各种障碍进行谈判。和观众参与度。

《公平复制》从无处不在的诗人莉迪亚·亨特利·西格尼开始，以确立关系诗学的盛行，然后转向四位较少阅读的诗人和诗歌社区作为测试案例，“以展示这种批判镜头重构的激进潜力”（17） 。从西格妮开始，“美国[费利西亚]赫曼斯”让普茨描述了文学原创主义和民族主义是如何支持和反对西格妮一贯拥护重复、周期性和观众参与的。本章的一个亮点是普茨如何追溯《婴儿之死》对西格妮的错误归属，以强调这首诗在每一个离散的出现中“持续而富有创造性的诗歌作者表现”，以及她的读者的持续愉悦接受了这样的问题（43）。在文学民族主义的背景下建立西格尼的关系诗学，剥离了作者身份和抒情诗人的浪漫概念的假设，这为该书开始多管齐下地涉足其他作品的创作、出版和发行提供了动力。女诗人。

波士顿制造公司的磨坊女工们在 1840 年至 1845 年间出版了《洛厄尔奉献》[完第 197 页]，这是一个为研究工人阶级妇女的学者所熟知的诗意社区，构成了第二章。将阶级诗人视为追求文雅和文学性的简单模仿者，这对他们造成了严重的伤害，因为它没有考虑到诗人已经敏锐地意识到了这些批评。相反，奉献诗人将他们的模仿实践表现在他们的袖子上，并“声称诗歌的阅读和写作都是一种无阶级的活动”（62）。诗人将家庭客厅的诗歌实践转移到工厂的空间——将诗歌剪下来、粘贴到墙上和机器上，并将其内化为自己的；或者，正如普茨所写，“将报纸‘诗人角’的概念字面化”（72）。通过...