Abstract

Three economic crises — 1929, 1973, and 2008 — provide waypoints for Ruth Jennison to make a formal and historical argument on poetic form and its relation to capital. Poetic form registers the crisis it seeks to represent, while still bearing traces of previous crises and the various forms of resistance to which they gave rise. In this sense, the limits of poetic form will ultimately allow us to read the limits of capital.