Differentials: Poetry, Poetics, Pedagogy

This is what did not happen to happen to be this brother to his brother to his father to his father to be left to his mother to ...

n’est pas le voyage qui compte mais le commencement du et pour ca je mesure et l’epure sépure et je m’élance écrire millepages m ...

on a hitherto blank page—is conveyed not only by the meanings of the words but by their visual con¤gurations. In the Levine tran ...

capital I, and even this is a well-known print convention. And, as in the case of normal prose format, we read the text from lef ...

ward from the right margin, suspends time. The suspension sets, is set, in type, in columns that precipitate false memories of g ...

lence,” sets the stage for the poem’s paragrammatic activity. To be “read” is inevitably to be sentenced: readers of prose proce ...

k, sticking push pins in each of th e four corners to hold it in place. He placed a spoon, an ashtray, and 4 packets of sugar on ...

Retallack’s “narrative”—an account of breakfast in the Ramada Inn with Paul and Doug—is a story that goes nowhere, except on the ...

beaver, BeavHer, bedder, bedsore, beeba, beemba, been there, beer blare, beer blur, beer here, begba, beggar, beggere, Bel Air, ...

transcription from oral to written that is such a common phenomenon to- day) produces language like the following: CXCV My son i ...

In 2001 Joel Bettridge and Eric Selinger asked me to write an essay for their collection on Ronald Johnson in the National Poetr ...

secondary voices—pre¤guring one of the basic principles of Schoenberg’s se- rial composition, ‘total thematicism’ ”; and (2) “he ...

connection with the pulsation of breathing, the blood, ejaculation. It is wrong that jazz bands have the monopoly of giving coll ...

“Earthearthearth,” Johnson remarks in the preface, “is a linkage of ear to hear and heart. Art and hearth are also hid in it.” C ...

To begin, we might note that Johnson’s typography is conservative: I can re- produce it with reasonable accuracy on the computer ...

In Poem #4, the decisive bell gives way to the contrasting sound of the “wood / wind,” and in #5, that motif is developed: c h o ...

Mary Ellen Solt writes: Had [Gomringer] simply printed the word “wind” in the center of the page, it would simply have sat there ...

as is the case in Gomringer’s constellation, but transforms into “mind” by a simple reversal of w to m. What a difference a lett ...

trumps the small “anew,” as if to question the very possibility of life “anew” —renewal. At the same time, a triangle is formed ...

name and is no more than “air”—a ¤tting designation vis-à-vis the “earth” of #1. Then, too, the dialectic between “wane” and “an ...