Insignificant Notations: Thinking Surplus with the New York School
This panel invites papers that theorize the surplus of a literary object as something accidentally produced by that object. What is the substance and effect of this surplus? How is surplus figured in poetry, especially in poetics in or working in relation to the New York School? Following Stephen Best's assertion that "beauty is a force of erasure," papers might contribute theories of beauty in or as surplus. If art implies a frame but beauty can also erase that frame, papers might theorize framing in poetry and consider poetics that both constitute and move to exceed a frame. What else might constitute or figure surplus in poetry? Do New York School poetics figure a surplus of discourse or perhaps of thought?