This index provides keywords for each article reprinted or excerpted in this volume, as well as for articles indexed in its Constellations sections. The expanded keyword index in the Poetics Journal Digital Archive links complete versions of all articles it reprints from the original volumes of Poetics Journal, reorganized alphabetically by author.
African American poetics: Mullen, “Miscegenated Texts and Media Cyborgs” (335–44); Thomas, “Marks Are Waiting” (393–96)
avant-garde: de Laroque, “What Is the Sex of the Poets?” (170–71); Dragomoshchenko, “I(s)” (320–25); Lakoff, “Continuous Reframing” (111–18); Mac Low, “Some Ways Philosophy Has Helped to Shape My Work” (119–25); Scalapino/Silliman, “What/Person?” (378–92); Sonbert, “Narrative Concerns” (289–93); Zorn, “Memory and Immorality in Musical Composition” (414–19)
cinema: Child, “Exhibit and the Circulation” (294); Sonbert, “Narrative Concerns” (289–93)
class: Amnasan, “Eclipsing Function of Full Comprehension” (294); Kit Robinson, “Time and Materials” (353–66) collectivism: Guattari, “Language, Consciousness, and Society” (421)
conceptualism: Barone, “John Smith’s ‘Philadelphia Newspapers Read Crossways’” (420); Prigov, “Conceptualism and the West” (422–23)
critical theory: Bromige, “Philosophy and Poetry” (169–70); Lloyd, “Limits of a Language of Desire” (295–96); Prigov, “Conceptualism and the West” (422–23); Rasula, “What Does This Do with You Reading?” (173–74); Silliman, “Migratory Meaning” (141–57); Toscano, “Early Morning Prompts for Evening Takes” (425); “Symposium: Postmodern?” (298–99); Watten, “Politics of Style” (158–68)
cultural studies: Michael Davidson, “‘Hey Man, My Wave!’” (202–14); Latinina, “Folklore and ‘Novoyaz’” (421–22); Mullen, “Miscegenated Texts and Media Cyborgs” (335–44); Andrew Ross, “Death of Lady Day” (367–77); Thomas, “Marks Are Waiting” (393–96)
experience: Friedman, “How Space Stations Gets Written” (294–95); Piombino, “Towards an Experiential Syntax” (297); “Poetics of Everyday Life” (422)
feminism: Burke, “Without Commas” (170); Dahlen, “Forbidden Knowledge” (55–71); Fraser, “Overheard” (171–72); Hejinian, “Rejection of Closure” (87–97); Susan Howe, “My Emily Dickinson” (98–110); Retallack, “Blue Notes on the Know Ledge” (423)
formalism: Child, “Exhibit and the Circulation” (294); Hejinian, “Rejection of Closure” (87–97); Shklovsky, “Plotless Literature” (126–40)
French poetics: Alferi, “Seeking a Sentence” (303–12); de Laroque, “What Is the Sex of the Poets?” (170–71); Drucker, “Hypergraphy” (215–24); Mandel, “Codes/Texts” (172)
gender: de Laroque, “What Is the Sex of the Poets?” (170–71); Pearson, “‘Form of Assumptions’” (345–52); “Robert Creeley and the Politics of the Person” (423–24)
genre: Armantrout, “Mainstream Marginality” (197–201); Bernstein, “Writing and Method” (46–54); Davis, “Coolidge’s Mine” (170); Fisher, “Poetry, Philosophy, and Difference” (172); Glück, “His Heart Is a Lute Held Up” (79–86); Harryman, “Toy Boats” (225–28)
history: Barone, “John Smith’s ‘Philadelphia Newspapers Read Crossways’” (420); Mac Low, “Some Ways Philosophy Has Helped to Shape My Work” (119–25); Perelman, “Good and Bad/ Good and Evil” (240–56); “Symposium: Postmodern?” (298–99)
identity: Finkelstein, “Problem of the Self in Recent American Poetry” (420–21); Scalapino/Silliman, “What/Person?” (378–92)
ideology: Armantrout, “Mainstream Marginality” (197–201); Latinina, “Folklore and ‘Novoyaz’” (421–22)
intertextuality: Susan Howe, “My Emily Dickinson” (98–110); Mandel, “Codes/ Texts” (172)
knowledge: Hunt, “Beginning at Bottom” (172); Middleton, “Knowledge of Narratives” (296–97); Retallack, “Blue Notes on the Know Ledge” (423); Wolf, “Thinking You Know” (397–413)
language: Alferi, “Seeking a Sentence” (303–12); Bromige, “Philosophy and Poetry” (169–70); Dahlen, “Forbidden Knowledge” (55–71); Davies, “Language/ Mind/Writing” (72–78); Fisher, “Poetry, Philosophy, and Difference” (172); Guattari, “Language, Consciousness, and Society” (421); Hejinian, “Rejection of Closure” (87–97); Plotke, “Language and Politics Today” (173)
Language writing: Andrews, “Total Equals What” (185–96); Barone, “John Smith’s ‘Philadelphia Newspapers Read Crossways’” (420); Bromige, “Philosophy and Poetry” (169–70); Davis, “Coolidge’s Mine” (170); Hartley, “Jameson’s Perelman” (229–39); Lloyd, “Limits of a Language of Desire” (295–96); Moriarty, “Modern Lyric” (297); “Poets Theater: Two Versions of Collateral” (257–69); Rasula, “What Does This Do with You Reading?” (173–74); Seaton, “Example from the Literature” (282–88)
linguistics: Michael Davidson, “‘Hey Man, My Wave!’” (202–14); Lakoff, “Continuous Reframing” (111–18); Latinina, “Folklore and ‘Novoyaz’” (421–22); Haj Ross, “Poems as Holograms” (174); Silliman, “Migratory Meaning” (141–57); Watten, “Politics of Style” (158–68)
lyric poetry: Armantrout, “Mainstream Marginality” (197–201); Michael Davidson, “‘Hey Man, My Wave!’” (202–14); Finkelstein, “Problem of the Self in Recent American Poetry” (420–21); Fraser, “Overheard” (171–72); Moriarty, “Modern Lyric” (297); “Robert Creeley and the Politics of the Person” (423–24); Haj Ross, “Poems as Holograms” (174)
manifesto: Harryman, “Toy Boats” (225–28); Zorn, “Memory and Immorality in Musical Composition” (414–19)
Marxism: Andrews, “Total Equals What” (185–96); Hartley, “Jameson’s Perelman” (229–39); Plotke, “Language and Politics Today” (173)
material text: Amnasan, “Eclipsing Function of Full Comprehension” (294); Benson, “Close Reading” (37–45); Drucker, “Hypergraphy” (202–14); Hartley, “Jameson’s Perelman” (229–39); Susan Howe, “My Emily Dickinson” (98–110); “Poets Theater: Two Versions of Collateral” (257–69)
meaning: Lakoff, “Continuous Reframing” (111–18); Price, “Contingency Caper” (298); Haj Ross, “Poems as Holograms” (174); Shurin, “Irruptive Text” (424–25) media: Mullen, “Miscegenated Texts and
Media Cyborgs” (335–44); McCaffery, “And Who Remembers Bobby Sands?” (296); Price, “Contingency Caper” (298); Rosenberg, “Openings” (424); Thomas, “Marks Are Waiting” (393–96)
metaphysics: Dragomoshchenko, “I(s)” (320–25); Fanny Howe, “Purgatory” (421)
method: Alferi, “Seeking a Sentence” (303–12); Andrews, “Total Equals What” (185–96); Barone, “John Smith’s ‘Phila-delphia Newspapers Read Crossways’” (420); Bernstein, “Writing and Method” (46–54); Friedman, “How Space Stations Gets Written” (294–95); Mac Low, “Some Ways Philosophy Has Helped to Shape My Work” (119–25); Retallack, “Blue Notes on the Know Ledge” (423); Rosenberg, “Openings” (424)
modernism: Burke, “Without Commas” (170); Child, “Exhibit and the Circulation” (294); Fraser, “Overheard” (171–72); Hunt, “Beginning at Bottom” (172); Fanny Howe, “Purgatory” (421); Perelman, “Good and Bad/Good and Evil” (240–56); Plotke, “Language and Politics Today” (173); Shklovsky, “Plotless Literature” (126–40); “Symposium: Postmodern?” (298–99)
music: Zorn, “Memory and Immorality in Musical Composition” (414–19)
narrative: Jarolim, “Ideas of Order” (295); Mandel, “Codes/Texts” (172); Middleton, “Knowledge of Narratives” (296–97); Scalapino/Silliman, “What/ Person?” (378–92); Shurin, “Irruptive Text” (424–25); “Symposium on Narrative” (298)
negativity: Glück, “His Heart Is a Lute Held Up” (79–86); Moriarty, “Modern Lyric” (297); Toscano, “Early Morning Prompts for Evening Takes” (425); Watten, “Politics of Style” (158–68)
New American poetics: Pearson, “‘Form of Assumptions’” (345–52); “Robert Creeley and the Politics of the Person” (423–24); Watten, “Politics of Style” (158–68)
New Narrative: Acker, “Ugly” (177–84); Amnasan, “Eclipsing Function of Full Comprehension” (294); Bellamy, “Can’t We Just Call It Sex?” (313–19); Boone, “Acker’s Great Expectations” (169); Glück, “His Heart Is a Lute Held Up” (79–86)
New York School: Andrew Ross, “Death of Lady Day” (367–77); Silliman, “Migratory Meaning” (141–57); Wolf, “Thinking You Know” (397–413)
nonnarrative: Davis, “Coolidge’s Mine” (170); Friedman, “How Space Stations Gets Written” (294–95); Harryman, “Toy Boats” (225–28); McCaffery, “And Who Remembers Bobby Sands?” (296); Price, “Contingency Caper” (298); Scala-pino, “Pattern—and the ‘Simulacral’” (270–81); Seaton, “Example from the Literature” (282–88); Sonbert, “Narrative Concerns” (289–93); Shklovsky, “Plotless Literature” (126–40); “Symposium on Narrative” (298)
performance: Benson, “Close Reading” (37–45); Davies, “Language/Mind/ Writing” (72–78); Harryman, “Toy Boats” (225–28); Lakoff, “Continuous Reframing” (111–18); “Poets Theater: Two Versions of Collateral” (257–69); Rasula, “What Does This Do with You Reading?” (173–74); “Symposium on Narrative” (298); Zorn, “Memory and Immorality in Musical Composition” (414–19)
philosophy: Alferi, “Seeking a Sentence” (303–12); Bernstein, “Writing and Method” (46–54); Bromige, “Philosophy and Poetry” (169–70); Davies, “Language/Mind/Writing” (72–78); Fisher, “Poetry, Philosophy, and Difference” (172); Hunt, “Beginning at Bottom” (172); Mac Low, “Some Ways Philosophy Has Helped to Shape My Work” (119–25); Middleton, “Knowledge of Narratives” (296–97); Retallack, “Blue Notes on the Know Ledge” (423); Seaton, “Example from the Literature” (282–88)
poetry: Seaton, “Example from the Literature” (282–88); Toscano, “Early Morning Prompts for Evening Takes” (425)
politics: Acker, “Ugly” (177–84); Andrews, “Total Equals What” (185–96); Lloyd, “Limits of a Language of Desire” (295–96); Perelman, “Good and Bad/Good and Evil” (240–56); Plotke, “Language and Politics Today” (173); Thomas, “Marks Are Waiting” (393–96)
postmodernism: Acker, “Ugly” (177–84); Boone, “Acker’s Great Expectations” (169); Estrin, “Cold Heaven” (326–34); Finkelstein, “Problem of the Self in Recent American Poetry” (420–21); Hartley, “Jameson’s Perelman” (229–39); McCaffery, “And Who Remembers Bobby Sands?” (296); “Poetics of Everyday Life” (422); Price, “Contingency Caper” (298); Prigov, “Conceptualism and the West” (422–23); Kit Robinson, “Time and Materials” (353–66); Rosenberg, “Openings” (424); Scalapino, “Pattern—and the ‘Simulacral’” (270–81); “Symposium: Postmodern?” (298–99)
psychoanalysis: Burke, “Without Commas” (170); Dahlen, “Forbidden Knowledge” (55–71); Guattari, “Language, Consciousness, and Society” (421); Jarolim, “Ideas of Order” (295); Perelman, “Good and Bad/Good and Evil” (240–56); Piombino, “Towards an Experiential Syntax” (297); Kit Robinson, “Time and Materials” (353–66)
public sphere: Amnasan, “Eclipsing Function of Full Comprehension” (294); Michael Davidson, “‘Hey Man, My Wave!’” (202–14); McCaffery, “And Who Remembers Bobby Sands?” (296)
queer: Bellamy, “Can’t We Just Call It Sex?” (313–19); Andrew Ross, “Death of Lady Day” (367–77); Shurin, “Irruptive Text” (424–25)
race: Acker, “Ugly” (177–84); Mullen, “Miscegenated Texts and Media Cyborgs” (335–44); Scalapino/Silliman, “What/ Person?” (378–92)
reading: Benson, “Close Reading” (37–45); Dahlen, “Forbidden Knowledge” (55–71); de Laroque, “What Is the Sex of the Poets?” (170–71); Susan Howe, “My Emily Dickinson” (98–110); Rasula, “What Does This Do with You Reading?” (173–74); Silliman, “Migratory Meaning” (141–57)
readings: Armantrout, “Mainstream Marginality” (197–201); Bellamy, “Can’t We Just Call It Sex?” (313–19); Boone, “Acker’s Great Expectations” (169); Burke, “Without Commas” (170); Davis, “Coolidge’s Mine” (170); Drucker, “Hypergraphy” (202–14); Fraser, “Overheard” (171–72); Jarolim, “Ideas of Order” (295); Lloyd, “Limits of a Language of Desire” (295–96); Mandel, “Codes/Texts” (172); Moriarty, “Modern Lyric” (297); Pearson, “‘Form of Assumptions’” (345–52); “Poets Theater: Two Versions of Collateral” (257–69); Andrew Ross, “Death of Lady Day” (367–77); Haj Ross, “Poems as Holograms” (174); Shurin, “Irruptive Text” (424–25); Wolf, “Thinking You Know” (397–413)
religion: Fanny Howe, “Purgatory” (421)
Russian poetics: Child, “Exhibit and the Circulation” (294); Dragomoshchenko, “I(s)” (320–25); Hejinian, “Rejection of Closure” (87–97); Latinina, “Folklore and ‘Novoyaz’” (421–22); Prigov, “Conceptualism and the West” (422–23); Shklovsky, “Plotless Literature” (126–40)
science: Middleton, “Knowledge of Narratives” (296–97); Piombino, “Towards an Experiential Syntax” (297); Scalapino, “Pattern—and the ‘Simulacral’” (270–81)
sexuality: Bellamy, “Can’t We Just Call It Sex?” (313–19); Boone, “Acker’s Great Expectations” (169); Glück, “His Heart Is a Lute Held Up” (79–86)
space: Estrin, “Cold Heaven” (326–34); Fanny Howe, “Purgatory” (421)
subjectivity: Dragomoshchenko, “I(s)” (320–25); Estrin, “Cold Heaven” (326–34); Finkelstein, “Problem of the Self in Recent American Poetry” (420–21); Guattari, “Language, Consciousness, and Society” (421); Jarolim, “Ideas of Order” (295); Pearson, “‘Form of Assumptions’” (345–52); “Poetics of Everyday Life” (422); “Robert Creeley and the Politics of the Person” (423–24); Toscano, “Early Morning Prompts for Evening Takes” (425)
time: Kit Robinson, “Time and Materials” (353–66); “Poetics of Everyday Life” (422)
U.K. poetics: Fisher, “Poetry, Philosophy, and Difference” (172)
visual art: Drucker, “Hypergraphy” (202–14); Estrin, “Cold Heaven” (326–34); “Symposium on Narrative” (298); Wolf, “Thinking You Know” (397–413)
visuality: Benson, “Close Reading” (37–45); Friedman, “How Space Stations Gets Written” (294–95); Hunt, “Beginning at Bottom” (172); Piombino, “Towards an Experiential Syntax” (297); Scalapino, “Pattern—and the ‘Simulacral’” (270–81); Sonbert, “Narrative Concerns” (289–93)
writing: Bernstein, “Writing and Method” (46–54); Davies, “Language/Mind/Writing” (72–78); Rosenberg, “Openings” (424)