Differentials: Poetry, Poetics, Pedagogy

no doubt, were published simply because they were Los Angeles friends), but with rare exceptions no effort was made to recruit t ...

Fanny Howe’s observation, in her “Scattered Light,” that “Some patios won’t allow the shadow of a maid / It’s where I want to go ...

Sat up sleepless in the Long Night Long, love Stood me up. Stayed away though its Doing so stirred me. Wine on my shirtsleeve, W ...

And Mullen jokes about her fellow minority graduate students at Santa Cruz, who used the argument that it was all very well for ...

the pun on “hides” (as of “softness cured”) leads directly to the image of ghosts known by their large white ¤ngers in the dark. ...

der to construct a cultural and material history of African-America’s embrace and transformation of writing technologies one mig ...

Of this pseudo-ballad, we might say, in Steve McCaffery’s words, “a read- ing activates certain relational pathways, a ®ow of pa ...

places where the poem drifts between intentional utterance and improvisa- tional wordplay.” And she talks of the poem’s amalgam ...

can be traced back to the homage paid to Charles Olson’s “Projective Verse”). Indeed, exploring such venues as the “Women/Writin ...

ground events that complicate what is seen in the foreground? Was theirs a “rationalized objective space”—a space of nascent cap ...

“RUSH (a long way from H)” recalls the work of John Cage and various Fluxus artists. So, to rephrase the question, is Bergvall’s ...

In 1999 David Jackson of Yale’s Department of Spanish and Portuguese orga- nized a symposium in honor of the seventieth birthday ...

them at their signi¤cance, their contents. Concrete Poetry is ¤rst of all a re- volt against this transparency of the word.”^5 T ...

Visual placement is central to meaning: the possible pairs—almost nudes de- scending a staircase—are blocked in line 11 by the i ...

opera ended the mother agreed to go outside. Several ravens were talk- ing to one another. Storm clouds were moving in. The moth ...

by interpretative comments.”^14 Indeed, Haroldo reminds us, “the ‘verbivoco- visual’ elements of Joyce’s prose, the ‘montage wor ...

part of page 202 (seven lines from the top of the page and three from the bottom). Here is the original: Tell me, tell me, how c ...

Fidaris will ¤nd where the Doubt arises like Nieman from Nirgends found the Nihil. The eye moves up the page past “Flood” to “Fo ...

[and she] fell [in the] foss.” The ru of “trudging” reappears chiastically in “lurching” and “Curraghman,” and “us” in “used” re ...

In 1963 I began to write my book of essays/galaxies.... The book was conceived as an experiment in doing away with limits betwee ...