The following essays appeared, most in different form, in the following pub-
lications and are reprinted here by permission:
“Crisis in the Humanities? Recon¤guring Literary Study for the Twenty-¤rst
Century,” as “In Defense of Poetry: Put the Literary Back in Literature,”
Boston Review 24: 6 (Dec.–Jan. 1999–2000): 22–26.
“The Search for ‘Prime Words’: Ezra Pound as Nominalist,” Paideuma: Stud-
ies in American and British Modernist Poetr y 32, Numbers 1–3 (fall 2003),
205–28.
“ ‘But isn’t the same at least the same?’ Wittgenstein on Translation,” in The
Literary Wittgenstein, ed. John Gibson and Wolfgang Huemer (London:
Routledge, 2004), 34–54. In an earlier version, this essay appeared in Jac ke t,
http://w w w.jacketmagazine.com/14/perl-witt.html, and in Salt 14: The
Jacket Issue, ed. John Tranter (2003): 17–43.
“ ‘Logocinéma of the Frontiersman’: Eugene Jolas’s Multilingual Poetics and
Its Legacies,” Kunapipi 20 (1999): 145–63.
“ ‘The Silence that is not Silence’: Acoustic Art in Samuel Beckett’s Radio
Plays,” in Samuel Beckett and the Arts: Music, Visual Arts, and Non-Print
Media, ed. Lois Oppenheim (New York: Garland, 1999), 247–68. “The
Beckett/Feldman Radio Collaboration: Words and Music as Hörspiel,”
Beckett Circle 26, no. 2 (fall 2003), 7–10. Used by permission of Routledge/
Taylor & Francis Books Inc.
“Language Poetry and the Lyric Subject: Ron Silliman’s Albany, Susan Howe’s
Buffalo,” Critical Inquiry 25 (spring 1999), 405–34.
“After Language Poetry: Innovation and Its Theoretical Discontents,” in The
World in Time and Space: Towards a History of Innovative American Poetry,
1970–2000, ed. Joseph Donahue and Edward Foster (Talisman House Press,
2000), 333–55.
“The Invention of ‘Concrete Prose’: Haroldo de Campos’s Galaxias and Af-