Edmond draws his subjects out brilliantly, revealing abundantly relatable dimensions of meaning and achievement within worlds of textual, visual and sonic density and, most importantly, worlds of poetic copying. With great detail, and in an impressive historical and biographical narrative mode, which serves to balance his broad theoretical range, Make It the Same catches and amplifies the nuances of individual poems, setting down supple paraphrases and interpretations based on oftentimes breathtaking levels of attunement to 20th-century and contemporary poetry. . . . Only a supremely creative and passionate scholarly approach could have yielded such a timely vision.
—Martin Dyar, Times Higher Education
Edmond’s book makes a radical contribution to poetry studies. For Edmond, the agent of poetic change is not the individual, but rather the shifting collaboration between technology and politics that produces different kinds of copies. . . . The publication of Make It the Same should be celebrated not only for what the book does well — its subtle analyses of poems, its detailed knowledge of technology, its easy movement between English, Chinese, and Russian — but also for what it makes possible for scholars of poetry to do next.
—Walt Hunter, Los Angeles Review of Books
Make It the Same rebuts the notion that formal word-games are a decadent first-world hobby. It is an empirically broad, thoughtfully constructed, well-written, timely book about an important subject: a technical “mode of production” prominent in contemporary poetry, with its effects on content and reception.
—Haun Saussy, author of The Ethnography of Rhythm: Orality and Its Technologies
Make It the Same offers a global perspective on cultural iteration, triangulating English-language poetry with Russian and Chinese practices. Edmond immediately underscores the unintended irony with which those in America speak of “the poetry world” to mean precisely the opposite of the global: a micro, naval-gazing echo chamber. Given how parochial literary communities around a genre can be, this is an especially important contribution to literary studies.
—Craig Dworkin, author of No Medium
With its revisionist echoes of Pound’s “make it new,” Make It the Same is theoretically generative for thinking about modernist, contemporary, and world literature. Edmond powerfully demonstrates how the new media of repetition have generated a poetics of the same, a “copy poetry” that remixes prior poetries in global trajectories outside Eurocentric, center/periphery literary studies. A path-breaking book for post-1950s literature!
—Susan Stanford Friedman, author of Planetary Modernisms: Provocations on Modernity Across Time