132 contemporary poetry
1960 ), p. 29.
53. Roland Barthes, ‘The Grain of the Voice’, in Music Image Text,
trans. Stephen Heath (New York: The Noonday Press, 1977 ),
pp. 179 – 89 (p. 182 ).
54. Julia Kristeva, Revolution in Poetic Language (New York:
Columbia University Press, 1984 ), p. 87.
55. Barthes, ‘The Grain of the Voice’, pp. 182 – 3.
56. Barthes, ‘The Grain of the Voice’, p. 183.
57. Ric Allsopp, ‘Performance Writing’, A Journal of Performance
and Art, 21. 1 ( 1999 ), 76 – 80 (p. 80 ).
58. Caroline Bergvall, ‘What Do We Mean By Performance
Writing?’ Keynote paper for 1 st Performance Writing Symposium
(Totnes: Dartington College of Arts, 1996 ). Available online at
http://www.carolinebergvall.com.
59. Ibid.
60. Ibid.
61. Nicky Marsh, ‘Review: Goan Atom’, How 2 , 2 : 2 ( 2004 ).
Available online at http://www.asu.edu/pipercwcenter/how 2 jour-
nal/archive/onlinearchive/v 2 2 _ 2004 /current/alerts/
marsh.htm.
62. Caroline Bergvall, from ‘Goan Atom’, Jacket, 12 ( 2000 ).
Available online at http://jacketmagazine.com/ 12 /bergvall.
html. Print version, Goan Atom, 1. Jets-poupee (Cambridge:
rem press, 1999 ).
63. Drew Milne, ‘A Veritable Dollmine’, Jacket, 12 ( 2000 ).
Available online at http://jacketmagazine.com/ 12 /milne-
bergvall.html.