Lyn Hejinian and Barrett Watten are across the world famous poet/critics. jointly they edited the hugely influential Poetics magazine, whose ten concerns, released among 1982 and 1998, contributed to the surge of curiosity within the perform of poetics. A consultant to Poetics Journal offers the key conversations and debates from the magazine, and invitations readers to extend at the severe and artistic engagements they represent.
In making their choices for the advisor, the editors have sought to show off a variety of leading edge poetics and to point the variety of fields and actions with which they may be engaged. The advent and headnotes via the editors offer ancient and thematic context for the articles.
The advisor is meant to be of sustained inventive and school room use, whereas the spouse Archive of all ten problems with Poetics Journal permits clients to remix, remaster, and expand its practices and debates.
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Additional resources for A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998
Finally, the issue ended with a series of reviews, controversial in the way reviews of contemporaries seldom are, on writers such as Robert Creeley, Stephen Emerson, Lydia Davis, and David Antin who explore the poetics of narrative. Two reviews of the journal L=A=N=G=U=A=G=E, one by David Bromige and the other by David Lloyd, divide on a fault line between valorizing the “open form” of its poetics and demanding that it be considered as a species of ideology. For Bromige, the turn to language in poetry counters its degraded status in the lifeworld: “Between a stultifying insistence on an impossible accuracy, and an intoxicated assumption that one knows what is meant (and which turns out to be what, one way or another, one wanted to be meant), we 22 a gu i de to poetics jou rnal live.
Perhaps, particularly since the reading, reflectively and in moment following moment, sounds the poem out only to lose its parts in loosing them to the mind through the ear, even while the mind tries to reclaim them again 42 steve b e n son (What was on the previous page? What did I think about it? . The “Balls” seem to have their own autonomy, the “Floor” isn’t even an apt receptacle but simply lets them have their ways with it, following them helplessly wherever they go. No less the subjective individualist than Whitman, likewise participating in every pulse of energy, Dickinson sees the world united in instants and falling away in its expanse while Whitman sees particulars as sensational symbols and finds a wholeness only in generality and omnipresence.
Elsewhere began with the question of radical alterity—the “other” as fundamentally compelling and finally unknowable—as a motive for experimental writing that trades in language-centered alterity. After the cultural turn, such an alterity reflects i ntroduction 25 diverse subjectivities and literary traditions as “other”: our issue foregrounded work from an “other” culture at the end of the Cold War, the newly accessible community of post-Soviet poets and artists Lyn Hejinian made contact with in her 1980s travels in the Soviet Union and helped bring into translation.
A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998