A Guide to Poetics Journal: Writing in the Expanded Field 1982

Acknowledgments and Permissions

The editors thank Alan Golding, Lynn Keller, and Adelaide Morris for their support of Poetics Journal during the process of realizing the present volume and digital archive. Thanks are also due to Andrew Jaron for his help in preparing the manuscript for publication.

CREDITS

Thanks are due to the authors, editors, and executors who have granted permission for the inclusion of the materials that comprise this volume:

Kathy Acker, “Ugly.” Reprinted with permission of Matias Viegener of the Kathy Acker Literary Trust

Pierre Alferi, “Seeking a Sentence.” Reprinted with permission of the author and translator Joseph Simas

Bruce Andrews, “Total Equals What: Poetics and Praxis.” Reprinted with permission of the author

Rae Armantrout, “Mainstream Marginality.” Reprinted with permission of the author

Dodie Bellamy, “Can’t We Just Call It Sex?: In Memory of David Wojnarowicz.” Reprinted with permission of the author

Steve Benson, “Close Reading: Leavings and Cleavings.” Reprinted with permission of the author

Charles Bernstein, “Writing and Method.” Reprinted with permission of the author

Beverly Dahlen, “Forbidden Knowledge.” Reprinted with permission of the author

Michael Davidson, “‘Hey, Man, My Wave!’: The Authority of Private Language.” Reprinted with permission of the author

Alan Davies, “Language/Mind/Writing” was previously published in Signage (Roof: New York City, 1987). Reprinted with permission of the author

Arkadii Dragomoshchenko, “I(s).” Reprinted with permission of the author

Johanna Drucker, “Hypergraphy: A Note on Maurice Lemaître’s Roman Hypergraphique.” Reprinted with permission of the author

Jerry Estrin, “Cold Heaven: The Uses of Monumentality.” Reprinted with permission of Laura Moriarty, executor of Jerry Estrin’s estate

Robert Glück, “His Heart Is a Lute Held Up: Poe and Bataille.” Reprinted with permission of the author

Carla Harryman, “Toy Boats” was published in Animal Instincts (This, 1989), and There Never Was a Rose Without a Thorn (City Lights, 1995). Reprinted with the permission of the author

George Hartley, “Jameson’s Perelman: Reification and the Material Signifier” was published in Textual Politics and the Language Poets, Bloomington: Indiana University Press, 1989. Reprinted with permission of the author

Lyn Hejinian, “The Rejection of Closure.” Reprinted with permission of the author

Susan Howe, “My Emily Dickinson.” Reprinted with permission of the author

Jackson Mac Low, “Some Ways Philosophy Has Helped to Shape My Work.” Reprinted with permission of Anne Tardos, executor of Jackson Mac Low’s estate

Harryette Mullen, “Miscegenated Texts and Media Cyborgs: Technologies of Body and Soul,” copyright Harryette Mullen. Reprinted with permission of the author

Ted Pearson, “A Form of Assumptions.” Reprinted with permission of the author

Bob Perelman, “Good and Bad/Good and Evil: Pound, Céline, and Fascism.” Reprinted permission of the author

Kit Robinson, “Time and Materials: The Workplace, Dreams, and Writing” and “Raising Collateral.” Reprinted with permission of the author

Nick Robinson, “Subtext in Collateral.” Reprinted with permission of the author

Andrew Ross, “The Death of Lady Day.” Reprinted with permission of the author

Leslie Scalapino, “What/Person: From an Exchange” and “Pattern—and the ‘Simulacral.’” Reprinted with permission of the author

Peter Seaton “An Example from the Literature.” Reprinted with permission of the author

Viktor Shklovsky, “Plotless Literature: Vasily Rozanov.” Translation reprinted with permission of Richard Sheldon

Ron Silliman, “What/Person: From an Exchange” and “Migratory Meaning: The Parsimony Principle in the Poem.” Reprinted with permission of the author

Warren Sonbert, “Narrative Concerns,” copyright the estate of Warren Sonbert. Reprinted courtesy of the estate of Warren Sonbert, Ascension Serrano, executor

Lorenzo Thomas, “The Marks Are Waiting,” copyright Lorenzo Thomas. Reprinted with permission of A. L. Nielsen, literary executor for Lorenzo Thomas

Barrett Watten, “The Politics of Style.” Reprinted with permission of the author

Reva Wolf, “Thinking You Know.” Reprinted with permission of the author

John Zorn, “Memory and Immorality in Musical Composition.” Reprinted with permission of the author

We are grateful for permission to reprint the following illustrations:

Pages 217, 219, 220, 221: Maurice Lemaître: four pages from La plastique lettriste et hypergraphique, used as illustrations in “Hypergraphy: A Note on Maurice Lemaitre’s Roman Hypergraphique,” by Johanna Drucker

Page 328. Mies van der Rohe, Seagram Building, New York; © 2010 Artists Rights Society (ARS), New York-VG Bild-Kunst, Bonn; used as illustration in “Cold Heaven: The Uses of Monumentality,” by Jerry Estrin

Page 332: Robert Longo, for Robert Longo, “(For R. W. Fassbinder) Now Everybody” (1982–83), mixed media. Photo: Pelka/Noble, courtesy Metro Pictures; used as illustration in “Cold Heaven: The Uses of Monumentality,” by Jerry Estrin

Page 399: Artists Rights Society, for Andy Warhol, Popeye; used as illustration in “Thinking You Know,” by Reva Wolf

Page 401: Houghton Library, Harvard University, John Ashbery Papers: for “a page from El diario, Sunday supplement to La prensa, 16 April 1967”

Page 402: Andy Warhol Museum, Pittsburgh, for Andy Warhol, John Ashbery (film portrait frame); used as illustration in “Thinking You Know,” by Reva Wolf

Page 404: manuscript page of John Ashbery, “Farm Implements and Rutabagas in a Landscape,” typescript and autograph revisions; used as illustration in “Thinking You Know,” by Reva Wolf

Page 405: Holt, Rinehart, and Winston, for Ugo Mulas, “Thanksgiving dinner at Robert Rauschenberg’s loft, mid 1960s (detail)”; used as illustration in “Thinking You Know,” by Reva Wolf

All other illustrations are by the author of the works in which they appear and are used with permission