- Pretext, 7. “Birthmark” is reprinted in Ve i l , 91. I cite the poem from this ver-
sion because the Wesleyan page is of normal size as opposed to the “pocket” format
of Green Integer, and so the contrast between prose and verse is heightened, as it
should be. The question of layout is, of course, relevant to the interpretation of this
or any poem and should be taken up in class discussion. - Lyn Hejinian, “An Interview with Rae Armantrout,” A Wild Salience: The
Writing of Rae Armantrout, ed. Tom Beckett (Cleveland: Burning Press, 1999), 16. - Brian Reed, “Hart Crane’s Victrola,” Modernism/Modernity 7, no. 1 (2000):
99–125. - Jorie Graham, “Evolution,” Never (New York: Ecco/Harper Collins, 2002), 21–
- “Evolution” was ¤rst published in The London Review of Books, 5 July 2001. Gra-
ham chose “Evolution” to be distributed in a special edition by The Poetry Center,
Chicago, when she gave a reading there on 12 December 2001. For this occasion, “Evo-
lution” was specially printed on Somerset paper, prefaced by a line drawing by Jennie
Bastian. The broadside was designed by Amy Rowan and The Poetry Center. - I am counting the run-on particles as part of the preceding lines; if these are
counted as separate entities, the poem has thirty lines.
Chapter 14
- Frank O’Hara, “Naptha,” The Collected Poems of Frank O’Hara, ed. Donald
Allen (Berkeley: University of California Press, 1995), 338. - Michael Scharf, “The Vendler/Perloff Standoff/Handoff,” Writers and Critics
28, no. 1 (January/February 2000): 19–23. - In revised form, this essay appears here as essay 7, “Language Poetry and the
Lyric Subject.” The controversial pages on Scalapino—which had actually served as
no more than an example of different voice possibilities among San Francisco Lan-
guage poets—have been excised.
298 Notes to Pages 247–265