Hejinian’s Tuumba Chapbook series were thus in place by the mid-seventies. The
whole run of L=A=N=G=U=A=G=E and related journals is now available online in
Craig Dworkin’s Eclipse project: http://w w w.princeton.edu/eclipse.
- See Steve McCaffery, “Diminished Reference and the Model Reader,” North
of Intention: Critical Writings, 1973–1986 (New York: Roof Books, 1986), 13–29; Bruce
Andrews, “Text and Context,” Paradise & Method; Poetics & Praxis (Evanston, IL:
Northwestern University Press, 1996), 6–16; Charles Bernstein, “Stray Straws and Straw
Men,” Content’s Dream: Essays 1975–1984 (Los Angeles: Sun & Moon Press, 1986),
40–49. - L=A=N=G=U=A=G=E, Supplement Number One (June 1980), front page,
unpaginated. For the sake of convenience, I shall supply page numbers. - See especially Jakobson, “Linguistics and Poetics,” Language in Literature, ed.
Krystyna Pomorska and Stephen Rudy (Cambridge, MA: Belknap Press, 1987), 62–94.
Many of the essays in this collection are relevant to the topic—for example, “The
Dominant,” “Problems in the Study of Language and Literature,” and “Two Aspects
of Language and Two Types of Aphasic Disturbances.” - See William R. Paulson, The Noise of Culture: Literary Texts in a World of In-
formation (Ithaca, NY: Cornell University Press, 1988), chapter 2, “Science at Work,”
passim. - Charles Bernstein, “Stray Straws and Straw Men,” Content’s Dream, 40–41.
- In his essay “1973,” in The Mechanics of the Mirage: Postwar American Po-
etry, ed. Michel Delville and Christine Pagnoulle (Liège: Université de Liège, 2000),
49–66, Peter Middleton begins to engage the thorny issue of seventies poetry. He re-
lates the demise of Clayton Eshleman’s Caterpillar, whose last issue was in 1973, and
the founding of American Poetry Review (1972) to post-Vietnam, Watergate politics
and the new distrust of public speech, and the increasing separation of the white
avant-garde from black writing. Middleton takes into account such important poetic
developments as Jerome Rothenberg’s projects to place cultural difference and the
recognition of non-Western poetries on the agenda, David Antin’s turn toward im-
provisation, and Michael Palmer’s incorporation of French avant-garde poetics into
his work. But he notes that at the moment when Barrett Watten’s This was devoting
a whole issue to Clark Coolidge (1973), the dominant poetic discourse valorized poets
like Robert Lowell, Maxine Kumin, and William Stafford. - Sharon Bryan, “Hollandaise,” in The Morrow Anthology of Younger American
Poets, ed. Dave Smith and David Bottoms (New York: William Morrow, 1985), 107–08.
Bryan, born in 1943, holds an MFA from the University of Iowa and has published a
book called Salt Air from Wesleyan University Press (1983). In their introduction,
Smith and Bottoms describe the typical Morrow Younger Poet as one whose “knowl-
edge, while eclectic, seems focused on the psychological and mythical resonances in
the local surface, event, or subject.... He seems to jog more than to write literary
criticism” (19). - Naked Poetry: Recent American Poetry in Open Forms, ed. Stephen Berg and
Robert Mezey (Indianapolis: Bobbs-Merrill, 1969).
Notes to Pages 157–161 289