Untitled by joe stafura
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"It was inevitable to think about that as the central image of our lives—that sphere," A. R. Ammons said of the earth seen from space. Along with television viewers across the United States and abroad, Ammons had marveled at
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The Appalachian women in Kathryn Stripling Byer's work are constrained in numerous ways: by geography, by lack of education, by abuse, by poverty. Each seeks to find her own way through the world, and while at times this means a woman is able leave
<continued>Kayak, George Hitchcock's seminal magazine (published between 1964 and 1984), chronicles the sustained exchange during the 1970s between deep-image and surrealist poetics. Kayak's declared interest in "surrealist, imagist, and political poems,"
<continued>Inasmuch as Whalen's poetry can be accurately called a "graph of a mind moving"—that is, accurately described as an interrogation of self and subjectivity—it is likewise the graph of a mind bent on composing poetry, formulating aesthetic
<continued> By 1974 citizens of the United States were well aware that President Nixon had lied to them—had looked them through the eye of their own television sets forthrightly and insistently and spoken: "People have got to know
<continued> Most writers we knew were reading theory. Later, guided by Bruce, we started a left reading group at Small Press Traffic, attended by Steve Benson, Ron Silliman, Denise Kastan, Steve Abbott, Bruce, myself and others. The personal demolished the
<continued> A "mosaic of Cosmos": Bricolage in Ronald Johnson's ARK I wanted ["The Ramparts] to be constructed in a way so that I could get a source anywhere, from any source whatsoever, a word spoken, a word read, a sight, whatever,
<continued>In a decade marked by Watergate disillusionment, glam rock, political activism, civil liberties, hippies, Vietnam, stagflation, and Sonny and Cher, the American 1970's has been referred to, by Tom Wolfe, as the "me decade." Contrary to the decadent
<continued>The two major movements in American poetry of the 1960s that would influence the poetry of the next decade were, without a doubt, Confessionalism and the Deep Image movement. These two movements would have a deep and lasting impact on the
<continued>NPF Poetry of the 1970s Conference, 4p.m. Thursday, June 12, 2008Rebecca Weaver, University of Minnesota In 1977, William Burroughs, Jr. lay comatose in a Denver hospital, awaiting a liver transplant. His father, Williams S.
<continued>Baraka's Newark: Performing the Black ArtsThis paper considers Amiri Baraka's writing from the 1970s. The central tension I explore is that between his de- and re-contextualizing intervention in hate speech (in which he re-codes terms directed
<continued>My operating premise here is that writing/producing texts and being an author are two different, though interrelated, things. The decade of the seventies saw Bernadette Mayer at a height of experimental text production. Beginning with
<continued>This paper reads Jackson Mac Low's work of the 1970s as a hinge between the intermedia and early procedural practices for which he is best known and the work of the 1980s, where a self-consciously literary practice resonates with the ideo-linguistic
<continued>My introduction to Bernadette Mayer, reading with Clark Coolidge at the Colby College Art Museum on 14 June 2008, as part of the National Poetry Foundation Poetry of the 1970s Conference: an ABC of Mayer's literary biography.
Operating at the intersection of conceptual art, performance, documentary and experimental writing, Bernadette Mayer's challenging experiments of the 1970s—particularly Memory, Studying Hunger, and Midwinter Day—come out of her
<continued>The scholar M.H. Abrams once observed that many Romantic writers, having grown disillusioned with their revolutionary idealism after the French "Reign of Terror," retreated "from mass action to individual quietism, and from outer revolution to a
<continued>Abstract Clarity or, Late Modernism (A Photological Midrash) Patrick Pritchett Harvard University pritchpa@fas.harvard.edu This paper looks at the prominent place Oppen assigns in his late work to clarity. Clarity recurs with
<continued>"Writing itself is a form of action" (Ron Silliman. The New Sentence 4) "My theme probably has most to do with a very strong feeling that telling stories actually has an effect on the world, and that a relation is achieved between
<continued>From at least Space (1970) to Smithsonian Depositions (1980), the poetry of Clark Coolidge demonstrates an obsession with landscape and with primal scenes of enclosure. In Own Face (1978), caves, cavers (Floyd Barrow), and cavemen (of the
<continued>Before her death in October 1974, Anne Sexton completed corrections to the galleys of The Awful Rowing Toward God, which would be published posthumously. The poems in this collection are fiercely personal and intensely emotional, surrealistic in
<continued>Deborah Meadows will talk from "Lecture Notes on Icons and iconoclasts", a long essay in progress. This selection will touch on a few areas including on Rosalind Kraus in 'Notes on the Index: Seventies Art in America' approaches the
<continued>NPF Poetry of the 1970s Conference, Friday, June 13, 2008, 2:30p.m.Rebecca Weaver, University of Minnesota Begun above Rusoff's Books in the Dinkytown neighborhood in 1974, The Loft was a community of poets who gathered at the
<continued> In this paper I'd like to suggest a new lens for understanding Weiner's work: the 20th-century fascination with constrained or invented languages. In particular, I'd like to link Weiner's interest in codes, signals, and the
<continued>In the early 1970s, on opposite sides of the Cold War divide, and in complete ignorance of each other, Russian poet Lev Rubinstein and American poet Robert Grenier initiated a series of poetry raids on the fortress of the book: both began composing
<continued>This paper situates Ashbery in a certain New York 1970's, looking at the poems in Self-Portrait in a Convex Mirror through the lens of the uneasy tail end of the post-World War II Pax Americana. I read the poems in the book as an elaborate staging
<continued>While Kenneth Patchen has nearly disappeared from academic radar in the last few decades, he was one of the most popular and prolific writers of the mid-century. The author of over forty volumes in many forms (concrete and sound poetry, prose poems
<continued>In the 1970s John Cage was a paradigmatic figure (open, rather than closed, form) for Jean-François Lyotard, both for his engagements with libidinal economies and des dispositifs pulsionnels, and for his later work on minor ruses and their retorts
<continued>This paper examines some of the intriguing parallels between Bernadette Mayer's 1970s writing experiments, with a focus on the book Studying Hunger, and Thoreau's writing projects in Walden and The Journals. I wager that we might locate
<continued>A sketch of so-called Language Writing's development in the early 1970s.
Diachronic<>Synchronic Editorial Maneuvers During the Run of VORT Magazine
In Japan, there has been a long tradition of collaborative forms of poetry, such as renga and renku. These forms were used in the courts, as well as more common, informal situations.
<continued>Most of the little that has been written about Ron Silliman's The Chinese Notebook foregrounds its connection to Ludwig Wittgenstein's philosophical texts—particularly Wittgenstein's use of the numbered proposition and the interrogative voice.
<continued>This essay seeks to understand a structure of feeling which comes of age in the 1970s. This experience is tied to the development of an economic situation — "financialization" — that both colonizes and abstracts the future, while
<continued>In perhaps his most important early statement on poetics (included in his contributor's note to Paul Carroll's 1968 anthology The Young American Poets), Clark Coolidge states: "Words have a universe of qualities other than those of descriptive
<continued>The phrase is Robert Duncan's from The Truth and Life of Myth, often cited by Burton Hatlen, for whom the phrase was memory matter derived from a treasured conversation with Duncan. Looking at its use in context now, I find the concept of "tone
<continued>Fluid moves in Robert Duncan's favored sense of literary derivation, a word whose etymology indicates the channeling of influence into a new flow of water. Both derivation and influence signal a cosmic conception as well: our use of the word
<continued>In 1977, Steve McCaffery wrote in an early forum on what would soon come to be known as language poetry that "The main thrust of this work is hence political, rather than aesthetic." This paper seeks to understand the stakes of the tendency that
<continued>This essay explores the Disability Rights Movement and searches for a poet affiliated with that movement. The sit-in at the San Francisco Federal Building in 1977 marked a defining point in the movement. The sit-in resulted in the ratification of
<continued>"We walked the long late Sunday afternoon / the Bloomfield downs of Sonoma / / David said, did you know / Max Douglas is dead, of an overdose . . . " These lines from Kenneth Irby's long poem To Max Douglas seem to propose as much a periodization of
<continued>Essay for NPF
In 1973, Florence Howe and Ellen Bass published No More Masks!: An Anthology of Poems by Women. The anthology has come to signify, in recent literary history, the coalescence of second-wave feminism and mainstream American poetry. In this respect,
<continued>Is there anything more to say about Bob Perelman's "China"? "China," of course, is best known for being Fredric Jameson's target poem in "Postmodernism, or the Logic of Late Capitalism" (1984); but Jameson found the poem in the second issue of the
<continued>Since the appearance of L'Écho Bouge Beau (1968), a major collection of poems in Brossard's early writing, her poetry has moved away from its fascination with a rather elusive concept of the neuter, which became a recurring image in some of the
<continued>While William Bronk's essays on Henry David Thoreau, Herman Melville and Walt Whitman, which comprise the remarkable collection Brother In Elysium: Ideas of Friendship and Society in the United States, were composed during the 1930s
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