Democracy and Contemporary US Women's Poetry

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Introduction Becoming Publics: Democracy and Contemporary U.S. Women’s Poetry 1. See “PoetsAgainsttheWar.Com” (last accessed 1.9.06). 2. Sam Hamill, “Introduction: Poets against the War,” Poets against the War, edited by Sam Hamill (New York: Thunder’s Mouth Press/ Nation Books, 2003), 2. 3. Jed Rasula, The American Poetry Wax Museum: Reality Effects 1940–1990 (Urbana: National Council of Teachers in English, 1996), 383. 4. Lauren Berlant, The Queen of America Goes to Washington City: Essays on Sex and Citizenship (Durham and London: Duke University Press, 1997) and Meta Mendel-Reyes, Reclaiming Democracy: The Sixties in Politics and Memory (London: Routledge, 1995). 5. Walter Kalaidjian, Languages of Liberation: The Social Text in Contemporary American Poetry (New York: Columbia University Press, 1989), 19. Rasula has damned poetry’s privileging of “the metaphysics of the intimate encounter” (Rasula, The American Poetry Wax Museum, 314) and Altieri has despaired of a poetry that flees into “forms of extreme privacy that we hope are as inviolate as they are inarticulate.” Charles Altieri, Self and Sensibility in Contemporary American Poetry (Cambridge: Cambridge University Press, 1984), 16. 6. In his contribution to Rick London and Leslie Scalapino’s edited collection Enough, an Anthology of Poetry and Writings against the War (Oakland: O Books, 2003), Bernstein warned against “being hectored toward moral discourse, toward turning our work into digestible mes- sages. This too is a casualty of the war machine, the undermining of the value of the projects of art, of the aesthetic.” 7. The online poetry journal BayMoon, for example, pointed explicitly to the “Missing response from poet Dana Gioia, NEA Chair” and noted that its “attempts to obtain a statement from Mr. Gioia have not yet been answered” http://www.baymoon.com (last accessed 1.9.06). 8. Roger Weingarten and Jack Myers, “Foreword,” New American Poets of the ’90s, edited by Jack Myers and Roger Weingarten (Boston: David R. Godine, 1991). Similar claims have been made in Jonathan Holden’s The Fate of American Poetry (Athens, GA: The University of Georgia 156 NOTES

Press, 1991); David Wojahn and Jack Myers, “Preface,” A Profile of Twentieth Century American Poetry, edited by Jack Myers and David Wojahn (Carbondale: Southern Illinois Press, 1991). 9. Ernesto Laclau, Emancipation(s) (London: Verso, 1996), 120. 10. Samuel Lipman, “Redefining Culture and Democracy,” The New Criterion 8, no. 4 (1989), 18. 11. Dana Gioia, “Notes on the New Formalism,” Conversant Essays: Poets in Conversation, edited by J. McCorkle (Detroit: Wayne State University Press, 1990), 180. 12. Dana Gioia, “Business and Poetry,” Hudson Review 36, no. 1 (1983); R.S. Gwynn, “No Biz Like Po’ Biz,” Sewanee Review 100, no. 2 (1992). 13. Recent “crossover” anthologies and collections suggest how difficult it is to simply read the woman poet through this familiar formal pugilism. A Formal Feeling Comes, edited by Annie Finch (Santa Cruz: Story Line Press; 1994); American Women Poets in the Twenty First Century, edited by Claudine Rankine and Juliana Spahr (Middletown, CT: Wesleyan University Press, 2002); Jacqueline Vaught Brogan and Cordelia Candelana, eds., Women Poets of the Americas: Toward a Pan-American Gathering (New York: University of Notre Dame Press, 1999). In addition, critical essays such as Clair Wills, “Contemporary Women’s Poetry: Experimentalism and the Expressive Voice,” Critical Quarterly 36, no. 3 (1994) and Linda Kinnahan, “Experimental Poetics and the Lyric Voice in British Women’s Poetry,” Contemporary Literature 37, no. 4 (1996) point to the reductiveness of reading women’s poetry against terms such as “mainstream” and “experimental.” 14. David Trend, “Democracy’s Crisis of Meaning,” Radical Democracy: Identity, Citizenship and the State, edited by David Trend (New York: Routledge, 1996). 15. William E. Connolly, Identity/Difference: Democratic Negotiations of Political Paradox (Ithaca and London: Cornell University Press, 1991), 193. 16. Philip Pettit, “Freedom as Antipower,” Contemporary Political Theory: A Reader, edited by Colin Farrelly (London: Sage Publications, 2004), 151. 17. Seyla Benhabib, ed., Democracy and Difference: Contesting the Boundaries of the Political (Princeton: Princeton University Press, 1996). 18. Seyla Benhabib, “From Identity Politics to Social Feminism,” Radical Democracy: Identity, Citizenship and the State, edited by David Trend (New York: Routledge, 1996), 39. 19. Chantal Mouffe, “Democratic Politics Today,” Dimensions of Radical Democracy, edited by Chantal Mouffe (London: Verso, 1992), 13. 20. Jean Bethke Elshtain, Democracy on Trial (Ontario: Ansani Press, 1993), 75. 21. Mendel-Reyes, Reclaiming Democracy, 22. NOTES 157

22. Ken Hirschkop, Bakhtin: An Aesthetic for Democracy (Oxford: Oxford University Press, 1999), 37. 23. Robert Pinsky, Democracy, Culture and the Voice of Poetry (Princeton: Princeton University Press, 2002), 15. 24. Pinsky, Democracy, Culture and the Voice of Poetry, 30. 25. Drucilla Cornell, “Gender Hierarchy, Equality and the Possibility of Democracy,” Feminism and the New Democracy: Re-Siting the Political, edited by Jodi Dean (London: Sage, 1997), 218. 26. Jodi Dean, Introduction to Feminism and the New Democracy (London: Sage, 1997), 2. 27. Wendy Brown, States of Injury: Power and Freedom in Late Modernity (Princeton: Princeton University Press, 1995); Luce Irigaray, Democracy Begins between Two (London: Athlone Press, 2000); Nancy Fraser, “Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracies,” Between Borders: Pedagogy and Cultural Studies, edited by Henry Giroux and Peter McClaren (New York: Routledge, 1994). 28. Irigaray, Democracy Begins between Two, 16. 29. Nancy Fraser, Justice Interruptus: Critical Reflections on the Postsocialist Condition (London: Routledge, 1997), 181. 30. Brown, States of Injury, 75. 31. Naomi Wolf, Fire with Fire: The New Female Power and How It Will Change the World (London: Chatto and Windus, 1993); Katie Roiphe, The Morning After: Sex, Fear and Feminism (Boston: Little Brown and Company, 1994). 32. Rita Felski, Doing Time: Feminist Theory and Postmodern Culture (New York: New York University Press, 2000). 33. Michael Warner, Publics and CounterPublics (New York: Zone Books, 2002), 14. 34. Bruce Robbins, “Introduction: The Phantom Public Sphere,” The Phantom Public Sphere, edited by Bruce Robbins (Minneapolis: University of Minnesota Press, 1993). 35. Christopher Beach, Poetic Culture: Between Community and Institution (Evanston: Northwestern University Press, 1999). 36. Cary Nelson, Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory (Madison: University of Wisconsin Press, 1989), 10. 37. Zofia Burr, Of Women, Poetry and Power (Urbana and Chicago: University of Illinois Press, 2002); Joseph Harrington, Poetry and the Public: The Social Form of Modern U.S. Poetics (Middletown, CT: Wesleyan University Press, 2002); Michael Thurston, Making Something Happen: American Political Poetry between the World Wars (Chapel Hill: University of North Carolina Press, 2001) and Mark Van Wienen, Partisans and Poets: The Political Work of American Poetry in the Great War (Cambridge: Cambridge University Press, 1997). 38. Mark Van Wienen, Partisans and Poets, 24. 158 NOTES

39. James Longenbach, “A Response to Michael Thurston,” College Literature 25, no. 3 (1998), 193. 40. Paul Naylor, Poetic Investigations (Evanston, IL: Northwestern University Press, 1999), 38. 41. Naylor, Poetic Investigations, 32. 42. Elizabeth Long, “Textual Interpretation as Collective Action,” The Ethnography of Reading, edited by J. Boyarin (Berkeley: University of California Press, 1993), 206. 43. Harrington, Poetry and the Public, 4. 44. Benjamin Bertram, “New Reflections on the ‘Revolutionary’ Politics of Ernest Laclau and Chantal Mouffe,” Boundary 2 22, no. 3 (1995), 90. 45. Miriam Hansen, “Foreword” to Oskar Negt and Alexander Kluge, Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere, translated by Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff (Minnesota: University of Minnesota Press, 1993). 46. Hansen, “Foreword” to Public Sphere and Experience, xxix. 47. Brown, States of Injury, 8–9.

1 Paper Money and Tender Acts: Feminism and Democracy 1. Leslie Heywood and Jennifer Drake, “Introduction,” Third Wave Agenda: Being Feminist, Doing Feminism, edited by Leslie Heywood and Jennifer Drake (Minneapolis: University of Minnesota Press, 1997), 2. 2. Jane Flax, “The End of Innocence,” Feminists Theorise the Political, edited by Judith Butler and Joan W. Scott (London and New York: Routledge, 1992), 447. 3. Rosi Braidottti, “Toward a New Nomadism,” Gilles Deleuze and the Theater of Philosophy, edited by Constantin Boundas and Dorothea Olkowski (London: Routledge, 1994); Elizabeth Grosz, Space, Time, Perversion: Essays on the Politics of Bodies (London: Routledge, 1995); Donna Haraway, Simians, Cyborgs and Women: The Reinvention of Nature (London: Free Association Books, 1991). 4. Jacqueline Rose, “The State of the Subject: The Institution of Feminism,” Critical Quarterly 29, no. 4 (1988). 5. Rita Felski, Doing Time: Feminist Theory and Postmodern Culture (New York: New York University Press, 2000). 6. Elisabeth Spelman, Inessential Woman: Problems of Exclusion in Feminist Thought (London: Women’s Press, 1988). 7. Diana Fuss, Essentially Speaking: Feminism, Nature and Difference (London and New York: Routledge, 1989), 35. 8. Angela McRobbie, Feminism and Youth Culture (Basingstoke: MacMillan, 1991); Angela McRobbie, Postmodernism and Popular NOTES 159

Culture (London: Routledge, 1994); Meaghan Morris, The Pirate’s Fiancée: Feminism, Reading, Postmodernism (London: Verso, 1988). 9. Sara Mills, “Reading as/Like a Feminist,” Gendering the Reader, edited by Sara Mills (Hemel Hempstead: Harvester Wheatsheaf, 1994); Sara Mills and Lyn Pearce, Feminist Readings/Feminists Reading (London: Harvester Wheatsheaf, 1996). 10. Wai Chee Dimock, “Feminism, New Historicism and the Reader,” Readers in History: Nineteenth Century American Literature and the Contexts of Response, edited by James L. Machor (Baltimore and London: The Johns Hopkins University Press, 1993); Lyn Pearce, Feminism and the Politics of Reading (London: Arnold, 1997), 13. 11. Sidonie Smith, “The Autobiographical Manifesto: Identities, Temporalities, Politics,” Autobiography and Questions of Gender, edited by S. Nueman (London and Oregan: Frank Cass, 1991); Liz Stanley, The Auto/Biographical I: The Theory and Practice of Feminist Auto/Biography (Manchester: Manchester University Press, 1992). 12. Drucilla Cornell’s preservation of the “imaginary domain” of the private, Chantal Mouffe’s formulation of feminist citizenship, and Marion Young’s refiguring of democracy are all aimed at answering this question. Druscilla Cornell, At the Heart of Freedom (Princeton: Princeton University Press, 1998); Elizabeth Grosz, Architecture from the Outside: Essays on Virtual and Real Space (Cambridge, MA: The MIT Press, 2000); Chantal Mouffe, “Democratic Citizenship and the Political Community,” Dimensions of Radical Democracy, edited by Chantal Mouffe (London: Verso, 1992); Marion Iris Young, Intersecting Voices: Dilemmas of Gender, Political Philosophy and Policy (Princeton: Princeton University Press, 1997). 13. Debra Morris, “Privacy, Privation, Perversity: Towards New Representations of the Personal,” Signs 25, no. 2 (2000), 325; Cornell, At the Heart of Freedom, 39. 14. Elaine Showalter, “Third-Wave Feminism,” Plenary paper presented at the “Third Wave Feminism Conference,” University of Exeter, UK, July 2002. 15. Luce Irigaray, Democracy Begins between Two (London: Athlone Press, 2000). 16. Judith Butler, “Contingent Foundations: Feminism and the Question of ‘Postmodernism,’ ” Feminists Theorise the Political, edited by J. Butler and J.W. Scott (London and New York: Routledge, 1992), 8. 17. Seyla Benhabib, “From Identity Politics to Social Feminism,” Radical Democracy: Identity, Citizenship and the State, edited by David Trend (New York: Routledge, 1996); Nancy Fraser, Justice Interruptus: Critical Reflections on the Postsocialist Condition (London: Routledge,1997). 18. Patricia J. Williams, The Alchemy of Race and Rights (Cambridge: Harvard University Press, 1991), 164. 160 NOTES

19. Wendy Brown, States of Injury: Power and Freedom in Late Modernity (Princeton: Princeton University Press, 1995), 128, 134. 20. Brown, States of Injury, 28. 21. Brown, States of Injury, 8–9. 22. Brown, States of Injury, 8–9. 23. Linda Nicholson, ed., Feminist Contentions: A Philosophical Exchange (London: Routledge, 1995). 24. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London: Routledge, 1990), 5. 25. Judith Butler, “For a Careful Reading,” Feminist Contentions, 140. 26. Seyla Benhabib, Situating the Self: Gender, Community and Postmodernism in Contemporary Ethics (London: Polity Press, 1992). 27. Brown, States of Injury, 8. 28. Butler, “For a Careful Reading,” 140. 29. bell hooks’s critique of Butler’s reading of Jennie Livingston’s film Paris is Burning makes this argument most clearly. bell hooks, Yearning: Race, Gender and Cultural Politics (London: Turnaround Press, 1991). 30. Butler’s own defense of such critique is contained in “Merely Cultural,” Social Text 15, no. 3–4, (1997). 31. Judith Butler, Excitable Speech: A Politics of the Performative (London: Routledge, 1997), 134. 32. Benhabib, Situating the Self, 8. 33. Benhabib, Situating the Self, 113. 34. Benhabib, for example, dismisses the “performative disruptions of artistic life” on the very instrumental grounds that the United States has produced an avant-garde culture “that is the envy of the world without managing to solve the problems of corrupt campaign financ- ing, blockages in legislative processes, misguided foreign policy, and lack of universal health care coverage, parental leave, decent housing, and education.” Seyla Benhabib, “Sexual Difference and Collective Identities: The New Global Constellation,” Signs: Journal of Women in Culture and Society 24, no. 2 (1999), 338. Benhabib’s explicit advocacy of narrative is evident in recent work by critics such as Maria Pia Lara and Martha Nussbaum who have been consistently drawn to the novel as providing new models for public agency. Maria Pia Lara, e.g., suggests that women’s narrative offers the possibility for conceptualizing “the public sphere as a cultural arena where ‘public’ meanings of justice and the good permeate democratic institutions, and where the tensions produced between facts and norms are seen as the dynamics that allow for the possibility of interventions by emancipatory movements.” Maria Pia Lara, Moral Textures: Feminist Narratives in the Public Sphere (Cambridge: Polity Press: 1998), 5. Similarly, Martha Nussbaum’s work on public morality claims the importance of the literary as a realm in which the imaginary and empathetic capacities upon which both justice and NOTES 161

democracy can be explored and perpetuated. Again, Nussbaum assumes that it is primarily the novel, or at least narrative, that offers an idealized alternative to current conceptions of the public. Martha Nussbaum, Poetic Justice: The Literary Imagination and the Public Life (Boston: Beacon Press, 1995). 35. Ken Hirschkop, Bakhtin: An Aesthetic for Democracy (Oxford: Oxford University Press, 1999), 37. 36. Judith Butler, Antigone’s Claim: Kinship between Life and Death, The Welleck Library Lectures (Irvine: Columbia University Press, 2000), 81. 37. Seyla Benhabib, Transformation of Citizenship: Dilemmas of the Nation State in the Era of Globalization: The Spinoza Lectures (Amsterdam: University of Amsterdam, 2001), 60. 38. Nancy Fraser, “False Antitheses: A Response to Seyla Benhabib and Judith Butler,” Feminist Contentions: A Philosophical Exchange, edited by L. Nicholson (London: Routledge, 1995), 60. 39. Nancy Fraser, Justice Interruptus, 82. 40. Nancy Fraser, “Heterosexism, Misrecogonition and Capitalism: A Response to Judith Butler,” Social Text 15, no. 3–4 (1997). 41. Ewa Plonowska Ziarek, An Ethics of Dissensus: Postmodernity, Feminism and the Politics of Radical Democracy (Stanford: Stanford University Press, 2001), 70–71. 42. Ziarek, An Ethics of Dissensus, 5–6. 43. Kathleen Fraser, “The Tradition of Marginality,” Translating the Unspeakable: Poetry and the Innovative Necessity (Tuscaloosa: Alabama University Press, 2001), 30. 44. Fraser, “The Tradition of Marginality,” 31. 45. As well as contriving one of the lingering readings of Dickinson as “both ironically a madwoman (a deliberate impersonation of a madwoman) and truly a madwoman (a helpless agoraphobic, trapped in a room for her father’s house)” Sandra M. Gilbert and Susan Gubar shaped some of the more influential assumptions of the field of feminist literary criticism. Susan M. Gilbert, and Sandra Gubar, The Madwoman in the Attic (New Haven: Yale University Press, 1979), 583. Piercy and Ostriker were not only popular feminist poets but their critical and editorial work was vital in establishing a canon for this movement. Alicia Ostriker, Stealing the Language: The Emergence of Women’s Poetry in America (Boston: Beacon Press, 1986); Marge Piercy, Early Ripening: American Women’s Poetry Now (New York: Pandora, 1987). 46. Suzanne Juhasz names this compulsion as “the need to validate the personal and the private as legitimate topics for public speech and in the need to integrate the private and public worlds, only in this way can the double bind be broken, can the woman poet truly be one person, an integrated self functioning powerfully in every facet of her experience.” Suzanne Juhasz, Naked and Fiery Forms: Modern American Poetry by Women, a New Tradition (New York: Harper and 162 NOTES

Row, 1976), 6. One of the only contemporary critiques of this state of affairs was offered by Cora Kaplan who noted that concern with over- coming the “double-bind” upon the woman poet, divided between her “social identity” and “poetic practice,” became as Cora Kaplan noted, “the insistent subject, sometimes overt, often hidden or dis- placed” in discourses around American women’s poetry. Cora Kaplan, Sea Changes: Culture and Feminism (London: Verso, 1986), 71. 47. Florence Howe, “Introduction,” No More Masks! An Anthology of Poems by Women, edited by Florence Howe (New York: Doubleday/Anchor Books, 1973), 3. 48. Cheryl Walker, “Feminist Literary Criticism and the Author,” Critical Inquiry 16 (1990). Jan Montefiore, Feminism and Poetry: Language, Experience, Identity in Women’s Writing (London and New York: Pandora, 1987). 49. Katie King, Theory in Its Feminist Travels: Conversations in U.S. Women’s Movements (Indiana University Press, 1994), 121. 50. Ostriker, Stealing the Language, 80. 51. Marjorie Perloff, “The Corn-Pone Lyric 1972–1973,” Contemporary Literature 16 (1975), 91. 52. Diane Wakoski, The Collected Greed Parts 1–13 (Los Angeles: Black Sparrow Press, 1984), 115. 53. Wakoski’s response to Robert Bertholt’s critique of the “Iowa workshop conspiracy,” e.g., rejects the framing of poets as “Caterpillar poets or Iowa poets or black poets or women poets or Southern poets, etc.” Diane Wakoski, Toward a New Poetry (Ann Arbor: The University of Michigan Press, 1980), 56. 54. Diane Wakoski, Smudging: To Smoke or to Protect against Frost (as an Orchard) By Means of Smudge (Los Angeles: Black Sparrow Press, 1972), 30. 55. June Jordan, Who Look at Me (New York: Thomas Y. Cromwell Company, 1969), 1. 56. Jordan, Who Look at Me, 3. 57. Jordan, Who Look at Me, 23. 58. Jordan, Who Look at Me, 51. 59. June Jordan, Directed by Desire: The Collected Poems of June Jordan, edited by Jan Heller Levi and Sara Miles (Washington: Copper Canyon Press, 2005), 174. 60. Hortense Spillers, “Mama’s Baby, Papa’s Maybe,” Diacritics: A Review of Contemporary Criticism 17, no. 2 (1987), 65. 61. Jordan, Directed by Desire, 176–177. 62. Kim Whitehead, The Feminist Poetry Movement (Jackson: University Press of Mississippi, 1996), 92. 63. Aldon Lynn Nielsen, Black Chant: Languages of African-American Postmodernism (Cambridge: Cambridge University Press, 1997), 161. 64. June Jordan, Lyrical Campaigns: Selected Poems (London: Virago, 1989). 65. Jordan, Lyrical Campaigns, 71. NOTES 163

66. Jurgen Habermas, The Structural Transformation of the Public Sphere, translated by Thomas Burger (London: Polity Press, 1989), 160. 67. Craig Calhoun, “Introduction: Habermas and the Public Sphere,” Habermas and the Public Sphere, edited by Craig Calhoun (Cambridge, MA: MIT Press, 1992), 24. 68. Habermas, The Structural Transformation of the Public Sphere, 160. 69. Phillip Lopate, “Issues of Language,” Journal of an Experiment: Teachers and Writers Collaborative, edited by Herbert Koch (Washington DC: Teachers and Writers, 1979), 102. 70. Bill Readings, The University in Ruins (Cambridge: Harvard University Press, 1996), 145, 146. 71. Henry Giroux, Schooling for Democracy: Critical Pedagogy in the Modern Age (London: Routledge, 1989). The latter position been suggested by, e.g., Carol A Stabile, “Another Brick in the Wall: Recontextualisng the Crisis,” Higher Education Under Fire: Politics, Economics and the Crises of the Humanities, edited by Michael Bérubé and Cary Nelson (London: Routledge, 1996). 72. Koch, Journal of an Experiment. 73. Phillip Lopate has suggested that the program depended upon “a curiously shrunken view of the American poetic tradition; which jumps directly from American Indian songs to William Carlos Williams, Gregory Corso and Nikki Giovanni.” Yet, Lopate also notes that this aesthetic homogeneity was the result of the failure of its own utopian aims, of a financial system that is “premised on hiring workers who would live below the annual living wage, who will accept a tran- sient ‘consultant status’ and who, cannot, therefore, risk experimentalism,” Phillip Lopate, “Issues of Language,” Journal of an Experiment: Teachers and Writers Collaborative, edited by H. Koch (Washington, D.C: Teachers and Writers, 1979), 340. 74. Patricia Mann has suggested the ways in which events at City College can be understood as exemplary of the changing conditions of the “public.” Patricia Mann, “Unifying Discourse: City College as a Postmodern Public Sphere,” Social Text 25, no. 6 (1990). 75. June Jordan’s Poetry for the People: A Revolutionary Blueprint, edited by Lauren Muller and the Poetry for the People Collective (New York: Routledge, 1995). 76. June Jordan, Moving Towards Home: Political Essays (London: Virago, 1987), 10. 77. June Jordan, Moving Towards Home, 10–13. 78. June Jordan and Terri Bush, eds., The Voice of the Children (New York: Rinehart and Winston, 1968). 79. June Jordan, Dry Victories (New York: Rinehart and Winston, 1972), 75. 80. June Jordan, Moving Towards Home, 29. 81. Jordan, His Own Where (New York: Thomas Y. Cromwell Company, 1971), 87. 164 NOTES

82. Jordan, His Own Where, 66. 83. Jordan, Moving Towards Home, 31. 84. June Jordan, “Report from the Bahamas,” Ethics: A Feminist Reader, edited by Elizabeth Frazer, Jennifer Hornsby, and Sabina Lovibond (Oxford: Blackwell, 1992), 226. 85. Jordan, “Report from the Bahamas,” 232. The essay was originally published in the short-lived British journal Emergency. This publication aimed to offer itself as a corrective, the final editorial ruefully notes, to the “suicidal inability” of British socialism in the mid-1980s “to move beyond the most basic assumptions of Marxism and the structures of the nation state.” Despite the obvious prescience of such an aim, the profound and active polarities of British politics in the mid-1980s, and the journal’s publishing of seminal “Black Atlantic” figures such as Toni Morrison, Isaac Julien, Kobena Mercer, and Paul Gilroy, it “failed in the market” after four editions. Jordan’s close attention in the essay to the inadequacy of the language of subject positions in the face of transnational economics makes this failure even more ironical. Mark Ainley, Peter Ayrton, Wendy Falconer, Max Farrar, Paul Gilroy, Kate Pullinger and Mandy Rose, Vron Ware, “Editorial,” Emergency 4 (1986). 86. June Jordan, On Call: Political Essays (Boston: South End Press, 1985). 87. June Jordan, Directed by Desire, 325. 88. Jordan, Directed by Desire, 327. 89. Jordan, Directed by Desire, 331. 90. Susan Howe, The Birth-Mark: Unsettling the West in American Literary History (Wesleyan: University Press of New England, 1993), 24. 91. Susan Howe, The Western Borders (Berkeley: Tuumba Press, 1976), 90. 92. Howe, The Western Borders, 99. 93. Recent criticism has made much of Howe’s development of a visual aesthetic for feminist poetics: see Craig Douglas Dworkin, “ ‘Waging Political Babble’: Susan Howe’s Visual Prosody and the Politics of Noise,” Word and Image 12, no. 4 (1996); Kathleen Fraser, Translating the Unspeakable: Poetry and the Innovative Necessity (Tuscaloosa and London: University of Alabama Press, 2000); Alan Golding, “Susan Howe’s Visual Poetics,” We Who Love to be Astonished, edited by Laura Hinton and Cynthia Hogue (Tuscaloosa: Alabama University Press, 2001). 94. Howe, The Birth-Mark, 4 and 7. 95. Howe, The Birth-Mark, 2. 96. Richard Middleton describes the battle Hope Atherton was involved in: The conflict was the natural result of population pressure on the Native peoples immediately to the west and north, notably the Wampanoags, Narraganseetts, Mohegans and Nipmuncks [ ...] The new Englanders sent a combined force under Josiah Winslow against them which killed 300 men, women and children. This assault promptly increased support for Metacomet, since most NOTES 165

American Indians now realised they were fighting for their lives [...] Most notable was the routing of a force under Captain Turner in the Connecticut Valley in which forty of Turner’s men were killed [ ...] By the summer of 1676 it was all over. The American Indians of Southern new England had effectively been reduced to a few remnants cooped up in special villages, their way of life and environment destroyed forever. Richard Middleton, Colonial America: A History 1607–1760 (Oxford: Blackwell, 1992), 127. It was the rout against Captain Turner that Atherton, in becoming separated from his regiment, escaped. Peter Nicholls has suggested that Howe’s account of this battle was taken from George Sheldon’s A History of Deerfield: Massachusetts 1895–96 (Somersworth, NH: New Hampshire Publishing, 1972); Peter Nicholls, “Unsettling the West: Susan Howe’s Historicism,” Contemporary Literature 37, no. 4 (1996). 97. Susan Howe, The Singularities (Hanover: Wesleyan University Press, 1990), 4. 98. Howe, The Singularities, 4. 99. Howe, The Birth-Mark, 89. 100. Howe, The Singularities, 6. 101. Howe, The Singularities, 12. 102. Howe, The Singularities, 12. 103. Howe, The Singularities, 41. 104. In “Civil Disobedience” Thoreau famously asks whether “democracy” can be seen as the “last improvement possible in Government? Is it not possible to take a step further towards recognising and organizing the rights of man? There will never be a really free and enlightened state, until the State comes to recognize the individual as a higher and independent power, from which all its own power and authority are derived,” William Henry Thoreau, “Civil Disobedience,” Political Writings/Thoreau, edited by Nancy L. Rosenblum (Cambridge: Cambridge University Press, 1996), 21. 105. Howe, The Singularities, 42. 106. Howe, The Singularities, 55, 50, and 52. 107. Peter Quartermain, Disjunctive Poetics; From Gertrude Stein and Louis Zukofsky to Susan Howe (Cambridge: Cambridge University Press, 1992), 86–87. 108. Quartermain, Disjunctive Poetics, 88. 109. Howe, The Singularities, 64. 110. Howe, The Singularities, 67. 111. Emma Goldman, “Anarchism: What It Really Stands For,” American Philosophies: An Anthology, edited by Leonard Harris, Scott L. Pratt, and Anne S. Waters (Oxford: Blackwell, 2002), 408. 112. Susan Howe, “An Interview with Susan Howe Conducted by Edward Foster,” Talisman: A Journal of Contemporary Poetry and Poetics 4 (1990), 173. 166 NOTES

113. Brown, States of Injury, 8–9. 114. Erica Hunt, “Notes for an Oppositional Poetics,” Politics of Poetic Form: Poetry and Public Policy, edited by Charles Bernstein (New York: Roof Books, 1990), 204. 115. John Guillory, Cultural Capital: The Problem of Literary Canon Formation, (Chicago and London: The University of Chicago Press, 1993). 116. Hunt, “Notes for an Oppositional Poetics,” 205. 117. Ziarek, An Ethics of Dissensus, 6. 118. Erica Hunt and Alison Saar, Arcade (Berkeley: Kelsey St. Press, 1996), 28. 119. Hunt and Saar, Arcade, 26–27. 120. Erica Hunt, Local History (New York: Roof Books, 1993), 57. 121. Hunt, “Notes for an Oppositional Poetics,” 204. 122. Hunt, “Notes for an Oppositional Poetics,” 204. 123. Hunt, Local History, 57.

2 The Poetics of Privacy: Writing the Lyric Self 1. Bill Moyers, The Languages of Life (New York: Main Street Books, 1996), xii–xiv. 2. Christopher Beach, Poetic Culture: Between Community and Institution (Evanston: Northwestern University Press, 1999). 3. Richard M. Merelman, Partial Visions: Culture and Politics in Britain, Canada and the United States (Madison: University of Wisconsin Press, 1991), 59. 4. Michael Warner, The Trouble with Normal: Sex, Politics and the Ethics of Queer Life (Cambridge, MA: Harvard University Press, 2000), 172. 5. Warner, The Trouble with Normal, 171. 6. Debra Morris, “Privacy, Privation, Perversity: Towards New Representations of the Personal,” Signs 25, no. 2 (2000), 325. 7. Michael Warner, Publics and Counterpublics (New York: Zone Books, 2002), 26. 8. Drucilla Cornell, At the Heart of Freedom (Princeton: Princeton University Press, 1998), 39. 9. Charles Altieri, Self and Sensibility in Contemporary American Poetry (Cambridge: Cambridge University Press, 1984). 10. Oskar Negt, and Alexander Kluge, Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere, translated by Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff (Minnesota: University of Minnesota Press,1993), 15. 11. Negt and Kluge, Public Sphere and Experience, 15. 12. The obvious and important exception to this is the work of Adrienne Rich. See Altieri, Self and Sensibility; Walter Kalaidjian, Languages of NOTES 167

Liberation: The Social Text in Contemporary American Poetry (New York: Columbia University Press, 1989). 13. Holden assumes a dichotomy between men and women’s poetry, suggesting that “male” poetry “although realistic in setting and charac- terization” tends to be a poetry of “sensibility” whereas “female” poetry “though often anguished and passionate, attempts to deal real- istically with questions of history, ideology, social and personal responsibility—to deal with ideas rather than “feelings.” Jonathan Holden, The Fate of American Poetry (Athens, GA: The University of Georgia Press, 1991), 29. 14. Extended Outlooks: The Iowa Review of Women Writers, edited by Jane Cooper, Gwen Head, and Marcia Southwick (New York: MacMillan, 1982). 15. Bill Readings, The University in Ruins (Cambridge, MA: Harvard University Press, 1996). 16. Diane Elam, e.g., suggests that the simultaneity of deconstruction and feminism in the academy produces the “political institution in which non-political thought can occur and the non-political institution in which political thought can occur”; Diane Elam, Feminism and Deconstruction: Ms. en Abyme (London: Routledge, 1994), 94. Henry Giroux, “Modernism, Postmodernism and Feminism,” Postmodernism, Feminism and Cultural Politics, edited by Henry Giroux (Albany: State University of New York, 1991). 17. Craig Owens, “The Discourse of Others: Feminists and Postmodernism,” Postmodern Culture, edited by Hal Foster (London: Pluto Press, 1985). 18. Henry Giroux, “Modernism, Postmodernism and Feminism,” Postmodernism, Feminism and Cultural Politics, 56. 19. Michael Bérubé, Marginal Forces/Cultural Centres: Tolson, Pynchon and the Politics of the Canon (New York: Cornell University Press, 1992), 36. 20. Stephen Wilbers, The Iowa Writers Workshop: Origins, Emergence and Growth (Iowa City: University of Iowa Press, 1980). 21. John Crowe Ransom, The World’s Body (Baton Rouge: Louisiana State University Press, 1938), 328. 22. Alan Golding, From Outlaw to Classic: Canons in American Poetry (Madison: University of Wisconsin Press, 1995), 86. 23. Dave Smith, Local Assays (Urbana and Chicago: University of Illinois Press, 1985), 222. 24. D.G. Myers, The Elephants Teaching: Creative Writing since 1880 (New Jersey: Prentice Hall, 1996), 168. 25. Wendell Berry, “The Specialization of Poetry,” Hudson Review 28 (1975), 12. 26. Berry, “The Specialization of Poetry,” 16–17. 27. Berry, “The Specialization of Poetry,” 25. This anxiety was repeated in other critical writing of the 1970s, such as Charles Molesworth, The 168 NOTES

Fierce Embrace: A Study of Contemporary American Poetry (Columbia: University of Missouri Press, 1979) and was still present in much later texts such as Ross Talarico, Spreading the Word: Poetry and the Survival of Community in America (Durham: Duke University Press, 1996). 28. Christopher Beach, Poetic Culture, 46. 29. Joseph Epstein, “Who Killed Poetry?” Commentary 86, no. 2 (1988), 20. 30. George Garret, “The Future of Creative Writing Programs,” Creative Writing in America: Theory and Pedagogy, edited by Joseph Moxley (Urbana, IL: National Council of Teachers in English, 1989). 31. Yet an account more vexed and more complex than this lapserian narrative of academic rationalization has also been proposed. Lorenzo Thomas, e.g., has noted that the “anti-communist and anti-industrial stance” of the Southern Agrarians so active in Iowa in the 1920s and 1930s was profoundly implicated in a white supremacism that could uniquely afford to be so nostalgic about the “southern way of life.” Lorenzo Thomas, Extraordinary Measures: Afrocentric Modernism and Twentieth-Century American Poetry (Birmingham: Alabama University Press, 2000), 86. Walter Kalaidjian has similarly noted that the cultural politics of this particular form of New Criticism was based not simply on a reaction against a newly powerful consumer culture but also on a fascistically “proactive, anti-Communist agenda.” Walter Kaladjian, “Marketing Modern Poetry and the Southern Public Sphere,” Marketing Modernisms: Self-Promotion, Canonization Rereading, edited by Kevin J.H. Dettmar and Stephen Watt (Ann Arbor: University of Michigan Press, 1996), 302. 32. Walter Kalaidjian, Languages of Liberation: The Social Text in Contemporary American Poetry (New York: Columbia University Press, 1989), 23. 33. Paul Engle, “The Writer on Writing,” On Creative Writing, edited by Paul Engle (New York: E.P. Dutton, 1964). 34. Paul Engle, “In Defense of the State University,” The Saturday Evening Post, February 13, 1960, Vol. 232, Issue 33, 22. 35. Robert Dana, “Preface,” A Community of Writers: Paul Engle and the Iowa Writers’ Workshop, edited by Robert Dana (Iowa: Iowa University Press, 1999), x. This was an assumption shared by Stegner. See Wallace Stegner, On the Teaching of Creative Writing (Hanover, NH: Montogomery Endowment, Dartmouth College, 1988). 36. Paul Engle, “The Writer and the Place,” A Community of Writers: Paul Engle and the Iowa Writers’ Workshop, 5. 37. Paul Engle, “The Creative Person in a World of Conflict,” Education during World Transition, edited by Charles M. Allen (Urbana: University of Illinois, 1951), 38. 38. Paul Engle, “The International Writing Program,” The Miami Herald, February 26, 1976. NOTES 169

39. Paul Engle, “The Writer and the Place,” 108. Yet this extravagance had its limitations; the Workshop’s “multiculturalism” did not appear to always extend to African Americans. Michael Harper’s account of the program is astringent; he recounts being accepted by a community of African American athletes rather than writers, and finding employ- ment difficult upon leaving because of his referees mentioning his race, despite it being illegal to do so. See A Community of Writers: Paul Engle and the Iowa Writers’ Workshop. 40. William Hogan, “Paul Engle among the Midland Medici,” The San Francisco Chronicle, Tuesday March 27, 1962. 41. Paul Engle, “Engle Discusses Role of the Teacher-Writer in American Universities in Times Article” from On Iowa: September-October, 1955, 6. 42. Rita Dove, “Introduction to the Best of American Poetry 2000,” Best American Poetry 2000, edited by Rita Dove (New York: Scribner, 2000), 17. 43. Dove, “Introduction to the Best of American Poetry 2000,” 23. 44. Christopher Beach, Poetic Culture and Joseph Epstein, “Who Killed Poetry?” Commentary 86, no. 2 (1988). 45. Rita Dove, The Poet’s World (Washington DC: The Library of Congress, 1995), 67. 46. Dove, The Poet’s World, 66. 47. Alison Booth, “Abduction and Other Severe Pleasures,” Callaloo 19, no. 1 (1996), 125. 48. Booth, “Abduction and Other Severe Pleasures,” 125. 49. Carol Muske, Women and Poetry: Truth, Autobiography and the Shape of the Self (Ann Arbor: University of Michigan Press, 1997), 92. 50. Arnold Rampersad, “The Poems of Rita Dove,” Callaloo, 9 no. 1 (1986), 53. 51. Dove, Grace Notes, 51. 52. Dove, Grace Notes, 41. 53. Zofia Burr, Of Women, Poetry and Power (Urbana and Chicago: University of Illinois Press, 2002), 185. 54. “Remarks at Millennium Lecture Series, April 22nd 1988” released on the Internet by the Office of the Press Secretary, The White House. The Internet webpage for this event was removed after the 2001 presidential election. 55. Rita Dove, On the Bus with Rosa Parks (New York: W.W. Norton, 1999), 69. 56. Negt and Kluge, Public Sphere and Experience, xxx. 57. Pat Parker, Movement in Black: An Expanded Edition (Ithaca: Firebrand Books, 1999), 122. 58. Dove, On the Bus with Rosa Parks, 78. 59. Dove, On the Bus with Rosa Parks, 79–80. 60. Dove, On the Bus with Rosa Parks, 83. 170 NOTES

61. Marable Manning, Race, Reform and Rebellion: The Second Reconstruction in Black America, 1945–1990 (Jackson and London: University Press of Mississippi, 1991). What proportion of the Afro- American community experienced these positive changes remains contested. William Chafe suggested that as many as 35–45% of black families succeeded in achieving a middle-class lifestyle while Marable Manning suggests it may be as low as 7–10%. William H. Chafe, The Unfinished Journey: America since World War II (New York and Oxford: Oxford University Press, 1991). 62. G.W.F. Hegel, Phenomenology of Spirit, translated by J.N. Findlay (Oxford: Clarendon Press, 1977), 288. 63. Luce Irigaray, “The Eternal Irony of the Community,” Speculum of the Other Woman (Ithaca: Cornell University Press, 1984), 226. 64. Rita Dove, The Darker Face of the Earth (Brownsville: Storyline Press, 1994), 115. 65. Dove, The Darker Face of the Earth, 117. 66. See Michael Sandel, Democracy’s Discontent: American in Search of a Public Philosophy (Cambridge, MA: Harvard University Press, 1996), 118. 67. Gayatri Chakravorty Spivak, “Can the Subaltern Speak?” Colonial Discourse and Post-Colonial Theory: A Reader, edited by P. Williams and L. Chrishman (London: Harvester Wheatsheaf, 1993). 68. Kevin Stein, Private Poets, Worldy Acts: Public and Private History in Contemporary American Poetry (Ohio: Ohio University Press, 1996), 146. 69. Carolyn Forché, Gathering the Tribes (Yale: Yale University Press, 1976), 4. 70. Forché, Gathering the Tribes, 4–5. 71. Forché, Gathering the Tribes, 34. 72. Forché, Gathering the Tribes, 53. 73. Carolyn Forché, “Foreword to Inside Apartheid: One Woman’s Struggle in South Africa,” Inside Apartheid: One Woman’s Struggle in South Africa, edited by Janet Levine (Chicago: Contemporary Books, 1988). Forché also wrote the text for El Salvador: Work of Thirty Photographers, edited by Susan Meisela, Harry Matthison, and Fae Rubenstein (New York: Writers and Readers Publishing Co-Operative, 1984). 74. Michael Greer, “Politicising the Modern: Carolyn Forché in El Salvador and America,” The Centennial Review xxx, no. 2 (1986), 168. 75. Carolyn Forché, The Country between Us (New York: Harper and Row, 1981), 16. 76. Forché, The Country between Us, 16. 77. Jonathan Holden, Style and Authenticity in Postmodern American Poetry (Columbia: University of Missouri Press, 1986), 76. 78. Robert Pinsky, The Poet and the World (New York: Ecco Press, 1988). 79. Forché, The Country between Us, 28. NOTES 171

80. Carolyn Forché, “Sensibility and Responsibility,” The Writer and Human Rights, edited by Toronto Arts Group for Human Rights (New York: Doubleday, 1983), 23–24. 81. Carolyn Forché, “Roundtable Comments,” The Centennial Review xxx, no. 2 (1986), 130. 82. Carolyn Forché, “The Writer in Politics,” The Writer in Politics, edited by William Gass and Lorin Cuoco (Carbondale: Southern Illinois Press, 1996), 141. 83. Forché, “The Writer in Politics,” 141. 84. Forché, “The Writer in Politics,” 139. 85. Forché, “The Writer in Politics,” 136. 86. Carolyn Forché, “Introduction,” Against Forgetting: Twentieth Century Poetry of Witness, edited by Carolyn Forché (New York: Norton, 1993), 31. 87. Carolyn Forché, “On Subjectivity,” Onward: Contemporary Poetry and Poetics, edited by Peter Baker (New York: Peter Lang, 1996), 350. 88. Carolyn Forché, The Angel of History (New York: Harper Collins, 1994), Preface. 89. Carolyn Forché, “ ‘Culture, Canon, Curriculum’: A Response to ‘The Opening of the American Mind’ by Lawrence Levine,” November 25, 1997 (http:///osf1.gmu.edu/forchem/oldsite/culturalcanon.html. Last accessed 6.23.03). 90. Bill Roorbach, Contemporary Creative Nonfiction: The Art of Truth (Oxford: Oxford University Press, 2001), 2. This genre is, as such a broad definition implies, also much broader and less politically coher- ent than Forché’s interpretation of it perhaps suggests. In its institu- tionalized forms, the genre can include diaries, journals, memoirs, personal essays, cultural criticism, and travelogues. 91. Carolyn Forché, “The New Literature,” Writing Creative NonFiction: Instructions and Insights from the Teachers of the AWP, edited by Carolyn Forché and Philip Gerard (New York: Writer’s Digest Books, 2001). 92. Carolyn Forché, The Angel of History (from unpaginated part V). 93. In an interview given in 1991 Forché discussed reactions to the ending of the cold war and the historical redrawing of the political-geographic map of her political identifications, being moved at being able to see her family in Czechoslovakia and her anxieties about the “cataclysmic change” of the world order as the democratic structures of the West appeared to be in crisis at the very moment of the “political collapse of totalitarianism.” Carolyn Forché, “Interview,” Points of Departure: International Writers on Writing and Politics, edited by David Montenegro (Ann Arbor: University of Michigan Press, 1991), 63. 94. Forché, “The Writer in Politics,” 139. 95. Shoshona Felman and Dori Laub, Testimony: Crises of Witnessing in Literature, Psychoanlaysis, and History (New York: Routledge, 1992), xvii. 96. Forché, The Angel of History, 27. 172 NOTES

97. Forché, The Angel of History, 25. 98. Forché, The Angel of History, 28. 99. Forché, The Angel of History, 42. 100. Forché, The Angel of History, 43. 101. Forché, The Angel of History, 34. 102. Forché, The Angel of History, 34. 103. Forché, The Angel of History, 82. 104. Carolyn Forché, “Emergence,” Writing Creative NonFiction: Instructions and Insights from the Teachers of the AWP, edited by Carolyn Forché and Philip Gerard. 105. Helen Vendler, “Ascent into Limbo,” The New Republic, July 11, 1994, 27, 28. Cited in Thomas Gardner, “Introduction,” Jorie Graham: Essays on the Poetry, edited by Thomas Gardner (Wisconsin: The University of Wisconsin Press, 2005), 4. 106. Robert N. Caspar, “About Jorie Graham: A Profile,” Ploughshares Winter (2001–02), 194. 107. Mark Wunderlich, “Interview with Jorie Graham: The Glorious Thing,” American Poet 3, Fall (1996). Reprinted on the “Jorie Graham” page at the website for The Academy of American Poets (http://www.poets.org/viewmedia.php/prmMID/15774. Last accessed September 2006). 108. Wunderlich, “Interview with Jorie Graham: The Glorious Thing.” 109. Jorie Graham, “Introduction,” Best American Poetry 1990 (New York: Collier Books, 1990). Reprinted on the “Jorie Graham” page at the website for The Academy of American Poets (http:// www.poets.org/viewmedia.php/prmMID/15774. Last accessed September 2006). 110. Jorie Graham, “A Presidential Lecture by Writer’s Workshop and English Department Associate Professor Jorie Graham,” University of Iowa, February 3, 1991. 111. Mark Wunderlich, “Interview with Jorie Graham: The Glorious Thing.” 112. Mark Wunderlich, “Interview with Jorie Graham: The Glorious Thing.” 113. Kirstin Hotelling Zona, “Jorie Graham and American Poetry,” Contemporary Literature 46, no. 4 (2005). 114. Cynthia Hogue, “The Speaking Subject In/Me: Gender and Ethical Subjectivity in the Poetry of Jorie Graham,” Jorie Graham: Essays on the Poetry, edited by Thomas Gardner (Wisconsin: The University of Wisconsin Press, 2005), 242. 115. Helen Vendler, The Breaking of Style: Hopkins, Heaney, Graham (Cambridge, MA: Harvard University Press, 1995), 82. 116. Jorie Graham, “Manifest Destiny,” The Dream of the Unified Field (Hopewell: Ecco Press, 1995), 183. 117. Graham, “Manifest Destiny,” 189, 190. NOTES 173

118. Jorie Graham, The Errancy (London: Carcanet Press, 1998), 1. 119. Graham, The Errancy, 2 and 3. 120. Isobel Armstrong, “Writing from the Broken Middle,” Women: A Cultural Review 9, no. 1 (1998), 72. 121. Graham, The Errancy, 3. 122. Graham, The Errancy, notes. 123. Graham, The Errancy, 67. 124. Graham, The Errancy, 70. 125. Graham, The Errancy, 70. 126. Jorie Graham, “In/Silence,” Never (London: Carcanet, 2002), 13. 127. Jorie Graham, Overlord (London: Carcanet Press, 2005), 2. 128. Graham, “Praying (Attempt of June 14 03),” Overlord, 33. 129. Graham, “Commute Sentence,” Overlord, 73. 130. Graham, “Passenger” and “Copy (Attacks on the Cities 2000–2003),” Overlord, 71, 75. 131. Graham, “Spoken from the Hedgerows,” Overlord, 40. 132. Graham, “Passenger,” Overlord, 71. 133. Graham, “Posterity,” Overlord, 87, 88. 134. Altieri, Self and Sensibility in Contemporary American Poetry.

3 Against the Outside: Language Poetry as a Counter-Public 1. Rae Armantrout, Necromance (Los Angeles: Sun and Moon, 1991), 19. 2. Rae Armantrout, “Why Don’t Women Do Language Orientated Writing?” In the American Tree: Language, Realism, Poetry, edited by Ron Silliman (Orono: National Poetry Foundation Inc., 1986), 544. 3. Rae Armantrout, “Feminist Poetics and the Meaning of Clarity,” Sagetrieb 11, no. 3 (1992), 9. 4. Rae Armantrout, “Cheshire Poetics,” EPC (http://epc.buffalo. edu/authors/armantrout/poetics.html. Last accessed January 06). 5. Miriam Hansen, “Foreword” to Negt and Kluge’s Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere (Minnesota: University of Minnesota Press, 1993), xxxvi. 6. Ron Silliman et al., “Aesthetic Tendency and the Politics of Poetry,” Social Text 19, no. 20 (1988), 271. 7. Silliman et al., “Aesthetic Tendency and the Politics of Poetry,” 271. 8. The shift has been variously narrated by its participants: one of the most obviously controversial accounts was the public discussion that followed the publication of Bob Perelman’s The Marginalization of Poetry (Princeton: Princeton University Press, 1996) in The Impercipient Lecture Series 1, no. 4 (1997). 174 NOTES

9. Andreas Huyssen’s “map” of the postmodern suggests that the poten- tial that the apparent loss of modernity’s authoritative narratives had proffered to the radical political and cultural movements in the 1960s had given way by the following decade. Andreas Huyssen, After the Great Divide: Modernism, Mass Culture and Postmodernism (London: Macmillan, 1988), 170. Peter Bürger, Theory of the Avant-Garde (Minneapolis: Minnesota University Press, 1984). 10. Charles Bernstein, “The Conspiracy of ‘Us,’ ” The L=A=N=G=U= A=G=E Book, edited by Charles Bernstein and Bruce Andrews (Carbondale: Southern Illinois University Press, 1984), 187. 11. Ron Silliman, “Canons and Institutions: New Hope for the Disappeared,” Politics of Poetic Form: Poetry and Public Policy, edited by Charles Bernstein (New York: Roof Books, 1990), 160. 12. Andrew Ross/Barrett Watten, “From Reinventing Community: A Symposium on/with Language Poets” In Aerial 8: Contemporary Poetics as Critical Theory, edited by Ron Smith (Washington DC: Edge Books, 1995), 192. 13. Ron Silliman et al., “For Change” In the American Tree, edited by Ron Silliman (Orono: National Poetry Foundation, 1986), 486. 14. Linda Reinfield’s relatively early Language Poetry: Writing as Rescue maintains that the “commitment to rescue” that Language writing brings about is its “restoring [of] the reader.” Linda Reinfield, Language Poetry: Writing as Rescue (Baton Rouge and London: Louisiana State University Press, 1990), 32. See also Perelman, The Marginalization of Poetry, 31, and Hank Lazer, Opposing Poetries: Volume One—Issues and Institutions (Evanston: Northwestern University Press, 1996), 40. 15. Andrew Ross, “The New Sentence and the Commodity Form: Recent American Writing,” Marxism and the Interpretation of Culture, edited by Cary Nelson and Lawrence Grossberg (Urbana: University of Illinois Press, 1988), 375. 16. Ross, “The New Sentence and the Commodity Form,” 368. 17. Andrew Ross, The Failure of Modernism: Symptoms of American Poetry (New York: Columbia University Press, 1986), 211. 18. Ross, “The New Sentence and the Commodity Form,” 376. 19. Terry Eagleton damned theories that privileged the reader in this way, suggesting that they are “equivalent in some sense to worker’s co- operatives within capitalism, readers may hallucinate that they are actually writers, reshaping government handouts on the legitimacy of limited nuclear war into symbolist poems” and that the job of “socialist criticism” should “not be primarily concerned with the consumer’s revolution. Its task is to take over the means of production,” Terry Eagleton, Against the Grain: Essays 1975–1985 (London: Verso, 1986), 184. 20. Frederic Jameson, Postmodernism or, the Cultural Logic of Late Capitalism (New York: Verso, 1991), 31. Jameson’s attack upon the NOTES 175

implicit political abeyance of Language writing found sympathy within practitioners of the avant-garde American poetic itself. Later critics such as Vernon Shetley suggested, more cautiously, that Language writing’s reliance “on the academy to produce the sophisti- cated, theoretically inclined readers it assumes” was evidence of the limitations of its efficacy. Vernon Shetley, After the Death of Poetry: Poet and Audience in Contemporary America (London and Durham: Duke University Press, 1993), 159. For Shetley, the necessary “knowingness” of the reader reveals a “high and unargued value” upon self-consciousness rather than literary value, and that what differentiates the work of Robert Frost from Charles Bernstein “is the latter’s superior awareness of the many ways of reading his poetry,” 141. 21. Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media (Chicago: Chicago University Press, 1991), 27, 28. 22. Christopher Beach, Poetic Culture: Between Community and Institution (Evanston: Northwestern University Press, 1999); Alan Golding, From Outlaw to Classic: Canons in American Poetry (Madison: University of Wisconsin Press, 1995); Walter Kalaidjian, Languages of Liberation: The Social Text in Contemporary American Poetry (New York: Columbia University Press, 1989); Lazer, Opposing Poetries; Jed Rasula, The American Poetry Wax Museum: Reality Effects 1940–1990 (National Council of Teachers in English, 1996). 23. Charles Bernstein, “Community and the Individual Talent,” Diacritics: A Review of Contemporary Criticism 26, no. 3–4 (1996), 177. 24. Bernstein. “Community and the Individual Talent,” 182. 25. Out of Everywhere: Linguistically Innovative Poetry by Women in North America and the U.K., edited by Maggie O’Sullivan (London: Reality Street, 1996); Moving Borders: Three Decades of Innovative Writing by Women, edited by Margaret Sloan (Jersey City: Talisman, 1998); Megan Simpson, Poetic Epistemologies: Gender and Knowing in Women’s Language-Orientated Writing (Suny: State University of New York Press, 2000); Ann Vickery, Leaving Lines of Gender: A Feminist Geneaology of Language Writing (Middletown, CT: Wesleyan University Press, 2000); We Who Love to Be Astonished: Experimental Women’s Writing and Performance Poetics, edited by Laura Hinton and Cynthia Hogue (Tuscaloosa: University of Alabama Press, 2001). 26. Vickery, Leaving Lines of Gender, 11. 27. Julia Kristeva, Revolution in Poetic Language (New York: Columbia University Press, 1984). 28. Marianne DeKoven, “Male Signature, Female Aesthetic: The Gender Politics of Experimental Writing,” Breaking the Sequence: Women’s Experimental Fiction, edited by Ellen G. Frideman and Miriam Fuchs (Princeton: Princeton University Press, 1989), 79. 29. Joan Retallack, “:RE:THINKING: LITERARY: FEMINISM: (Three Essays onto Shaky Grounds),” Feminist Measures: Soundings in Poetry 176 NOTES

and Theory, edited by Lynn and Christanne Miller Keller (Michigan: The University of Michigan Press, 1994), 375. 30. Huyssen, After the Great Divide: Modernism, Mass Culture and Postmodernism (London: Macmillan, 1986). 31. Joan Riviere, “Womanliness as a Masquerade,” The Inner World and Joan Riviere: Collected Papers: 1920–1958, edited By Athol Hughes (London: Karnac Books, 1991). 32. Daniel Miller, “Consumption as the Vanguard of History,” Acknowledging Consumption: A Review of New Studies, edited by Daniel Miller (London: Routledge, 1995). 33. Teresa De Lauretis, Technologies of Gender: Essays on Theory, Film and Fiction (London: MacMillan, 1987), 26. 34. Teresa De Lauretis, “Guerrilla in the Midst: Women’s Cinema in the 80s,” Screen 31, no. 1 (1990), 6–25, 16. 35. Lyn Hejinian, “The Person and Description,” Poetics Journal 9 (1991), 167, 170. 36. Lyn Hejinian, “The Rejection of Closure,” Poetics Journal 4 (1984), 134. 37. Hejinian, “The Rejection of Closure,” 130. 38. Frederic Jameson, The Political Unconscious (Ithaca: Cornell University Press, 1981), 106. 39. Lyn Hejinian, “Language and Realism,” The Language of Inquiry (Berkeley: University of California Press, 2000), 88–89. 40. Both “Redo” and “The Guard” were republished in The Cold of Poetry (Los Angeles: Sun and Moon Press, 1994), 14. 41. Hejinian, The Cold of Poetry, 91. 42. Hejinian, The Cold of Poetry, 96. 43. Hejinian, The Cold of Poetry, 105. 44. Perelman, The Marginalization of Poetry. See also Juliana Spahr, Everybody’s Autonomy: Connective Reading and Collective Identity (Alabama: The University of Alabama Press, 2001). 45. Lyn Hejinian, My Life (2nd ed.) (New York: Sun and Moon Press, 1987), 101. 46. Hejinian, My Life, 92. 47. Lyn Hejinian, “Reason,” The Language of Inquiry, 340. See also Peter Nicholls, “Phenomenal Poetics: Reading Lyn Hejinian,” Postwar American Poetry: The Mechanics of the Mirage, edited by Christine Pagnoulle and Michel Delville (Liège: Université deLiège, 2000). 48. Hejinian, “Reason,” 345. 49. Jean-Francois Lyotard, The Differend: Phrases in Dispute (Minneapolis: University of Minnesota Press, 1988), xvi. 50. Bill Readings, Introducing Lyotard: Art and Politics (London and New York: Routledge, 1991), 108. 51. Hejinian, “The Person and Description,” 166–167. NOTES 177

52. Lyn Hejinian, Michael Davidson, Barrett Watten, and Ron Silliman, Leningrad: American Writers in the Soviet Union (San Fransisco: Mercury House Incorporated, 1991), 34. 53. Lyn Hejinian, Oxota: A Short Russian Novel (Great Barrington: The Figures, 1991), 63. 54. Hejinian, Oxota, 22. 55. Lyn Hejinian, “A Local Strangeness: An Interview with Lyn Hejinian,” Some Other Frequency: Interviews with Innovative Authors, edited by Larry McCaffery (Philadelphia: University of Pennsylvania Press, 1996), 129. 56. Hejinian, Oxota, 12. 57. Hejinian, Oxota, 11. 58. Hejinian, “A Local Strangeness,” 129. 59. Hejinian, Oxota, 11, 22. 60. Hejinian, Oxota, 49 61. Hejinian, Oxota, 36. 62. Hejinian, Oxota, 153. 63. Hejinian, Oxota, 37. 64. Hejinian, Oxota, 89. 65. Hejinian, Oxota, 60. 66. Hejinian, Oxota, 206. 67. Hejinian, Oxota, 270. 68. Hejinian, Oxota, 192. 69. Hejinian, Oxota, 93. 70. Lyn Hejinian and Leslie Scalapino, Sight (Washington DC: Edge Books, 1999), from unpaginated introduction. 71. Hejinian, Sight, from unpaginated introduction. 72. Scalapino, Sight, from unpaginated introduction. 73. Leslie Scalapino, The Public World/Syntactically Impermanence (Middletown, CT: Wesleyan University Press, 1999), 16. 74. Scalapino, The Public World/Syntactically Impermanence, 22. 75. Scalapino, Zither & Autobiography (Middletown, CT: Wesleyan University Press, 2003), 50. 76. Scalapino, Zither & Autobiography, 2. 77. Scalapino, Zither & Autobiography, 28. 78. Scalapino, Zither & Autobiography, 29. 79. Scalapino, Zither & Autobiography, 23. 80. Ron Silliman et al., “Aesthetic Tendency and the Politics of Poetry,” Social Text 19, no. 20 (1988). 81. For Merleau-Ponty it is in the act of perception that physical existence turns into “being”: “I grasp myself, not as a constituting subject which is transparent to itself, and which constitutes the totality of every possible object of thought and experience, but as a particular thought, as a thought engaged with certain objects, as a thought in act [ ...] Thus I can get outside the psychological cogito, without, 178 NOTES

however, taking myself to be a universal thinker.” M. Merleau Ponty, The Primacy of Perception and Other Essays on Phenomenal Psychology, the Philosophy of Art, History and Politics (Evanston: Northwestern University Press, 1964), 22. 82. Leslie Scalapino, that they were at the beach (San Francisco: North Point Press, 1985), 3. 83. Marjorie Perloff, “Soundings: Zaum, Seriality and the Recovery of the Sacred,” American Poetry Review 15, no. 1 (1986), 45. 84. Mark Jarman, “Singers and Storytellers,” The Hudson Review 39, no. 2 (1986), 335. 85. Gary Lenhart, “Avant-Garde or Postmodern?: Review of Leslie Scalapino’s that they were at the beach and Fanny Howe’s Robeson Street,” American Book Review 9, no. 1 (1987), 14. 86. Scalapino, The Public World/Syntactically Impermanence, 25. 87. Leslie Scalapino, R-hu (Berkeley: Atelos, 2000), 100. 88. Scalapino, R-hu, 103. 89. Leslie Scalapino, Zither & Autobiography, 36. 90. Hejinian, Oxota, 211. 91. Leslie Scalapino, The Front Matter, Dead Souls (Middletown, CT: Wesleyan University Press, 1996), 1. 92. Peter Burger, Theory of the Avant-Garde, 54. 93. Scalapino, The Front Matter, 49. 94. Patricia J. Williams, The Alchemy of Race and Rights (Cambridge: Harvard University Press, 1991); Zillah R. Eisenstein, The Color of Gender: Reimagining Democracy (Berkeley: University of California Press, 1994). 95. Eisenstein, The Color of Gender, 77. 96. Scalapino, The Front Matter, 49. 97. Max Winter, “Harsh Words,” The Bay Guardian, May 1996. 98. Scalapino, Zither & Autobiography, 21. 99. Scalapino, Zither & Autobiography, 22 and 23.

4 Go Grrrl: Democracy and Counterculture 1. Loss Pequeˇno Glazier, Small Press: An Annotated Guide (Westport, CT: Greenwood Press, 1992), 63. 2. Maria Damon, “Post-Literary Poetry,” Class Issues: Pedagogy, Cultural Studies and the Public Sphere, edited by Amitava Kumar (New York: New York University Press, 1997), 46. One important exception to the prevalent neglect with which small press poetry has been treated is Maria Damon’s, The Dark End of the Street: Margins in American Vanguard Poetry (Minneapolis: University of Minnesota Press, 1993). 3. Glazier, Small Press, 2. NOTES 179

4. Len Fulton, Directory of Poetry Publishers (Paradise, CA: Dustbooks, 1990). Interestingly, baseball, martial arts, ornithology, and Star Trek are all assigned numerous poetry journals while socialism only one. Mary Biggs’s work A Gift that Cannot Be Refused: The Writing and Publishing of Contemporary Poetry (New York: Greenwood Press, 1990) also pro- vides an important account of the working of the small press. 5. Len Fulton, “Anima Risin’: Little Magazines in the Sixties,” American Libraries 2, no. 1 (1971), 25. 6. Fulton, “Anima Risin: Little Magazines in the Sixties,” 33. 7. Glazier, Small Press, 2. 8. In this, Baskinski and Bertholt were doing work similar to other librar- ians who were concerned with the implications of this culture for the archivist. Jason Kucsma, “Preserving Zines in the Library: Countering Marginalisation and Extinction,” Zine Guide 3, Winter/Spring (2000) and Chris Dodge, “Pushing the Boundaries: Zines and Libraries,” Wilson Library Bulletin 69, no. 9 (1995). The difficulties of recording information about the small press as they are frequently unpaginated, undated, and even unnumbered (or, alternatively, these conventions are openly mocked, as in the example of Photostatic) inevitably render some of the following references less than exhaustive. 9. Michael Basinski and Robert J. Bertholt, “From Concrete Poem to Zine Display,” Robert Lax and Concrete Poetry, edited by Anthony Bannan (Buffalo: Burchfield Art Centre, 1991). 10. Michael Warner, Publics and CounterPublics (New York: Zone Books, 2002), 192. 11. Warner, Publics and CounterPublics, 203. 12. Lauren Berlant, The Queen of America Goes to Washington City: Essays on Sex and Citizenship (Durham and London: Duke University Press, 1997), 4. 13. Dan Raphael, “Editorial,” Co-Lingua, 34 (undated), 1. 14. Oskar Negt and Alexander Kluge, Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere, translated by Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff (Minnesota: University of Minnesota Press, 1993), xxxii. 15. John Held, Mail Art: An Annotated Bibliography (Lanham, MD: Scarecrow Press, 1991). 16. Karen Elliot, “Introducing Mail Art: A Karen Elliot Interview with CrackerJack Kid and Honoria,” Postmodern Culture 3, no. 2 (1997), unpaginated. 17. Fulton, “Anima Risin,” 30. 18. Stephen Perkins, Approaching the 80s Zine Scene and Subspace; International Zine Show (Iowa City: Plagiarist Press, 1992). 19. Stewart Home, The Art Strike Papers (Brighton: Authority, 1991). 20. The persona of Karen Elliot is, itself, a play on cultural assumptions about authorship. She is not an individual person but a pseudonym for 180 NOTES

various pieces of collective writing published by the Dialectical Immaterialism Press. 21. Karen Elliot, Censorship: Existence as Commodity and Strategies for Its Negation (Dialectical Immaterial Press, 1990), unpaginated. 22. Elliot, Censorship. 23. Johanna Drucker, The Visible Word: Experimental Typography and Modern Art, 1909–1923 (Chicago: University of Chicago Press, 1994), 97. 24. Drucker. The Visible Word, 43. 25. Harry Polkinhorn, Photostatic, 40, December (1989), 1502. 26. Johanna Drucker, “Feminism, Theory, Art Practice,” M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory and Criticism, edited by Mira Schor and Susan Bee (Durham and London: Duke University Press, 2000). 27. Fe-Mail-Art, edited by Anna Banana, Vile 6 (Berkeley: Dossier Editions, 1978); About Vile: Mail, Art, News and Photos from the Eternal Network, edited by Anna Banana (Vancouver: Banana Productions, 1983). 28. Stephen Paul Martin, “Editorial,” Central Park Spring, 11, no. 3 (1987). 29. Janet Janet was explicitly engaged with Art Strike movement; she was editor of the zine Schism, which published a parody of the ten-step program during the art strike, with each page containing a list of questions, such as: “TODAY I DID NOT / MAKE ART / EXHIBIT ART / SELL ART / BUY ART,” Schism 24 (1990). 30. Photostatic 32, September 1988, 1140. 31. Maria Gitin, “EAT EAT EAT,” Co-Lingua 34 (undated), 14. 32. Gitin, Co-Lingua 34 (undated) 14. 33. Ruthann Robson, “Sugar,” Slipstream 10 (1990), 88. 34. Kathy Acker, “Critical Languages,” Kathy Acker: Bodies of Work (London: Serpents Tail, 1997), 82. 35. Kathy Acker, “Devoured by Myths: An Interview with Sylvere Lotringer,” Hannibal Lecter, My Father, edited by Kathy Acker (New York: Columbia University, 1991), 2. 36. Acker, “Devoured by Myths,” 4. 37. Linda S. Kauffman, Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture (Berkeley: University of California Press, 1998), 221. 38. Acker, “Devoured by Myths,” 9. 39. Acker, “Devoured by Myths,” 10. 40. Kathy Acker, Implosion (New York: Wedge Press, 1983). 41. Kathy Acker, “Proposition One,” The Artist in Society: Rights, Roles and Responsibilities (Chicago: New Art Examiner Press, 1994), 38. 42. Acker, “Devoured by Myths,” 19. 43. Carla Harryman, “Acker Un-Formed,” Lust for Life: On the Writings of Kathy Acker, edited by Amy Scholder, Carla Harryman, and Avital Ronnell (London: Verso, 2006), 36. NOTES 181

44. Acker, “Devoured by Myths,” 5. 45. Acker, “Devoured by Myths,” 6. 46. Acker, “Devoured by Myths,” 4, 5. 47. Kathy Acker, “POLITICS (My First Work. Written When 21 Years Old,” Hannibal Lecter, My Father, edited by Kathy Acker (New York: Columbia University, 1991), 25. 48. Kathy Acker, The Childlike Life of the Black Tarantula by The Black Tarantula (New York: TVRT Press, 1975), 133. 49. Acker, The Childlike Life of the Black Tarantula, 141. 50. Robert Glück, “The Greatness of Kathy Acker,” Lust for Life, 49. 51. Robert Glück, “The Greatness of Kathy Acker,” Lust for Life, 51. 52. Lauren Berlant, The Queen of America Goes to Washington City: Essays on Sex and Citizenship (Durham and London: Duke University Press, 1997), 67. 53. Glazier, Small Press, 2. 54. Joan Jobe Smith and Marilyn Johnson, “Editorial,” Pearl 1, Spring (1974), 1. 55. Geraldine King, “My Purring Reviews,” Purr 5 (1976), 2. 56. Judson Crews, “BEAD, YOU SAY, OF THE BLUE WICK,” Purr 5 (1976), unpaginated. 57. Impetus 3, May (1985), 67. 58. Impetus 3, May (1985), 67. 59. Impetus: Female Four, February (1992), 18. 60. Impetus 3, May (1985), 66. 61. Cheryl Townsend, Pseudo Cop (Chicago: Mary Kuntz Press, 1995), 2. 62. Townsend, Pseudo Cop, 3–6. 63. Townsend, Pseudo Cop, 12. 64. Townsend, Pseudo Cop, 16. 65. Impetus 16, May (1989), 1. 66. Drucker, The Visible Word, 93. 67. Impish Impetus 2, November (1991), 32–33. 68. Impish Impetus 2, November (1991), 32–33. 69. Lyn Lifshin, Wormwood Review 26, no. 3 (1986), 103–109. 70. R.S. Gwynn, “No Biz Like Po’ Biz,” Sewanee Review 100, no. 2 (1992). See also Len Fulton, “Sweepstakes,” Directory of Poetry Publishers (Paradise, CA: Dustbooks, 1990). 71. W. Gregory Stewart, “For Lyn,” Plastic Tower 31 (1998), 23. 72. Lyn Lifshin, Offered by the Owner (Cambridge, NY: Slohlm, 1978), 14. 73. Lifshin, Offered by the Owner, 16. 74. Lifshin, Offered by the Owner, 17. 75. Lyn Lifshin, Cold Comfort (New York: Black Sparrow, 1996), 18. 76. Lyn Lifshin, “Alberta Hunter,” Ms February (1984), 80. 77. Lori Melton McKinnon, “Ms.ing the Free Press: The Advertising and Editorial Content of Ms. Magazine, 1972–1992,” The American Magazine: Research Perspectives and Prospects, edited by D. Abrahamson (Ames: Iowa State University Press, 1995). 182 NOTES

78. Generalissimo, HE WANTS HIS MEAT IN THE WOMAN WHO IS DEAD (Forth Worth: Homemade Icecream Press, 1992), unpaginated. 79. Seth R Friedman, ed., The Factsheet Five Zine Reader: The Best Writing from the Underground World of Zines (New York: Three River Press, 1997), 10–11. These rather catholic self-definitions at least partly arose from the fact that this writing was concerned to explore the possibili- ties of cultures of independent publication that could extend beyond those that had supported poetry. Most obviously, the zine community was disdainful of the conventions of most poetry, especially that of the mainstream. The zine Bad Poetry Digest, e.g., is censorially critical of what it calls “private writing,” cynically noting that “NO ONE CAN BE BUSTED FOR BAD POETRY / WHICH IS UNSUPRISING / SO MUCH UNECESSARY VERBIAGE / PRINTED SPOKEN EMAILED FILMED FUCKED AND FRITTERED AWAY,” Daniel A. Russel, “Editorial comment,” Bad Poetry Digest, 6.1 (undated). Alternatively, this resistance to poetry seemed the result of a desire to radicalize minority forms of cultural production in ways that sat uncomfortably with the high points of American twentieth-century poetic production that appeared, by the 1980s, to have failed to offer political choices to the zine’s self-elected constituents. 80. Stephen Duncombe, Notes from Underground: Zine and the Politics of Alternative Culture (New York: Verso, 1997), 3. 81. Duncombe, Notes from Underground, 2. 82. Jason Kucsma, “Preserving Zines in the Library: Countering Marginalisation and Extinction,” Zine Guide 3, Winter/Spring (2000) and Chris Dodge, “Pushing the Boundaries: Zines and Libraries,” Wilson Library Bulletin 69, no. 9 (1995). 83. Lone Wolff Prometheus, “Preface,” An Appeal to the Homeless: Self Sufficiency through Shoplifting (Washington DC: Nation of Thieves, 1996), 1. 84. Johnny R., Shouldn’t You Be Working 5, 3624 Conn. Ave. NW., Washington DC 2008. 85. Factsheet5, 61, April (1997), 7. 86. Pagan Kennedy, Zine: How I Found Six Years of My Life and Finally . . . Found Myself ...I Think (New York: St Martin’s Griffin, 1995). 87. Mike Goldberg and Janice Gunderloy, The World of Zines: A Guide to the Independent Magazine Revolution (New York: Penguin, 1992); The Bust Guide to the New Girl Order, edited by M. Karp and Debbie Stalker (New York: Penguin, 1999). 88. Emily White “Revolution, Girl Style, Now,” Rock She Wrote, edited by Evelyn McDonnell and Ann Powers (New York: Delta, 1995; first published in LA Weekly, July 10–16, 1992), 396. 89. White, “Revolution, Girl Style, Now,” 397. 90. White, “Revolution, Girl Style, Now,” 402. NOTES 183

91. Neil Nehring, Popular Music, Gender and Postmodernism: Anger Is an Energy (Thousand Oaks, CA: Sage Publications Inc., 1997), 156. 92. Ednie Kaeh Garrison, “US Feminism-Grrrl Style! Youth (Sub) Cultures and the Technologies of the Third Wave,” Feminist Studies 26, no. 1 (2000), 141. 93. Hillary Frey, “Kathleen Hanna’s Fire,” The Nation, January 13, 2003. 94. Karp and Stalker, “Herstory: Girls on Girls,” The Bust Guide to the New Girl Order, 309–310. 95. From Leah Angstman, ed., The Literature Collection: Poems from Some of the World’s Greatest Unknown Authors (Mason: Propaganda Press, 1999), 3. 96. Mary Celeste Kearney, “Don’t Need You: Rethinking Identity Politics and Separatism from a Grrrl Perspective,” Youth Culture: Identity in a Postmodern World, edited by J. Epstein (Oxford: Blackwell, 1998).

5 Romantic Materialism and Emerging Poets 1. Gary Sullivan, “America, A Lineage,” Telling It Slant: Avant-Garde Poetics in the 1990s, edited by Mark Wallace and Steven Marks (Tuscaloosa and London: Alabama University Press, 2002), 41. 2. Wallace and Marks, “Introduction,” Telling It Slant, 1. 3. Joel Kuszai, ed., Poetics @ (New York: Roof Books, 1999). 4. Steve Evans, “The American Avant-Garde after 1989: Notes Toward a History,” Assembling Alternatives: Reading Postmodern Poetries Transnationally, edited by Romana Huk (Middletown, CT: Wesleyan University Press, 2003), 88. 5. Lisa Jarnot, “Preface to an Anthology of New (American) Poets,” An Anthology of New (American) Poets, edited by Lisa Jarnot, Leonard Schwartz, and Chris Stroffolino (Jersey City: Talisman House, 1998), 2. 6. Jena Osman, “Introduction,” The Lab Book, edited by Jena Osman (Buffalo: Poetics Program, State University of New York at Buffalo, 1992), vii. 7. Osman “Introduction,” vii. 8. Mark Wallace, “Thrilled in the Upper Reaches of Doubt,” The Lab Book, 3. 9. Spahr, The Lab Book, 5. 10. Willis, The Lab Book, 6. 11. Daley, The Lab Book, 8. 12. The Apex of the M’s editorial stance was severely critical of what it understood to be Language writing’s inability to respond to the injustices in the social, suggesting that it is complicit with what it seeks to attack: “Self-conscious opacity in poetry, long before it counteracts or brings an end to the socio-cultural status quo, perhaps compounds the problems 184 NOTES

resulting from increasing rates of illiteracy and atomization in the public sphere, problems upon which global capitalism, supposedly the enemy of the avant-garde has come to depend.” Lew Daly, Alan Gilbert, Kristin Prevallet, Pam Rehm, “Editorial,” Apex of the M 1 (1993), 5. 13. Gizzi, The Lab Book, 7. 14. Mark Wallace, “Emerging Avant-Garde Poetries and the ‘Post Language’ Crisis,” Poetic Briefs 19, Supplement to August edition (1995). 15. Mark Wallace, “With Romantic Materialism,” A Poetics of Criticism, edited by Juliana Spahr et al. (Buffalo: Leave Books, 1994). 16. Jefferson Hanson and Mark Wallace, “Is This a Mainstream Dialogue?” Central Park 24, Spring (1995). 17. Mark Wallace, “Toward a Free Multiplicity of Form,” Telling It Slant. 18. Wallace, “With Romantic Materialism,” 252. 19. Wallace, “Toward a Free Multiplicity of Form,” 197. 20. Pam Rehm, The Garment in Which No One Had Slept (Providence: Burning Deck Press,, 1993), 23. 21. Lee Ann Brown, Polyverse (Los Angeles: Sun and Moon Press, 1997). 22. Linda Russo, “To Be Jack Spicer in a Dream: Joanne Kyger and the San Francisco Renaissance,” Jacket 7 (1999) and Elizabeth Willis, “Who Was Lorine Niedecker,” American Poet: The Journal of the Academy of American Poets Fall (2001). 23. Ernest Laclau, Emancipation(s) (London: Verso, 1996), 97. 24. Erica Hunt, Local History (New York: Roof Books, 1993), 57. 25. Laclau, Emancipation(s), 100. 26. Michael de Certeau, “Reading as Poaching,” Readers and Reading, edited by Anthony Bennet (London and New York: Longman, 1995), 157. 27. Juliana Spahr et al., eds., A Poetics of Criticism (Buffalo: Leave Books, 1994). 28. Juliana Spahr, “Spiderwasp or Literary Criticism,” Telling It Slant, 409. 29. Juliana Spahr, “Poetry, Academies, and Anarchy,” Poets and Writers 28, no. 6 (2000), 21–26. Kristen Prevallett, “Why Poetry Criticism Sucks,” Jacket 11, April (2000). 30. Juliana Spahr and Jena Osman, “Introduction,” Chain 1 (1994), 129. 31. Juliana Spahr, “Introduction,” American Women Poets in the Twenty First Century, edited by C. Rankine and J. Spahr (Middletown, CT: Wesleyan University Press, 2002), 11. 32. Juliana Spahr, Everybody’s Autonomy: Connective Reading and Collective Identity, (Alabama: The University of Alabama Press, 2001), 13. 33. Spahr, Everybody’s Autonomy, 13. 34. Spahr, Everybody’s Autonomy, 14. 35. Spahr, Everybody’s Autonomy, 13. 36. Juliana Spahr, Response (Los Angeles: Sun and Moon Press, 1996), 9. 37. Spahr, Response, 17, 31. NOTES 185

38. Spahr, Response, 46. 39. Spahr, Response, 90. 40. Spahr, Response, 69. 41. Spahr, Response, 62. 42. Spahr, Response, 73. 43. Juliana Spahr, things of each possible relation hashing against one another (Newfield, NY: Palm Press, 2003), 29. 44. Juliana Spahr, Fuck You—Aloha—I Love You (Middletown, CT: Wesleyan University Press, 2001), 31. 45. Spahr, Fuck You—Aloha—I Love You, 31. 46. Spahr, Fuck You—Aloha—I Love You, 21. 47. Spahr, Fuck You—Aloha— I Love You, 27. 48. Spahr, Fuck You—Aloha—I Love You, 29. 49. Spahr, Fuck You—Aloha—I Love You, 38, 39. 50. Spahr, Fuck You—Aloha—I Love You, 47. 51. Spahr, Fuck You—Aloha—I Love You, 53. 52. Spahr, Everybody’s Autonomy, 100. 53. “A Conversation with Harryette Mullen, Farah Griffin, Michael Magee and Kristen Gallagher, 1997.” Selections from this conversation appear in the journal COMBO, 1 (Summer 1998), edited by Michael Magee. 54. From a personal interview with Harryette Mullen, cited in Kate Pearcy’s “A Poetics of Opposition?: Race and the Avant-Garde,” from a paper given at The Conference of Contemporary Poetry, Rutgers, April 24–27, 1997. 55. Harryette Mullen, “Optic White: Blackness and the Production of Whiteness,” Diacritics 24, no. 2 (1994); Harryette Mullen, “Miscgenated Texts and Media Cyborgs: Technologies of Body and Soul,” Poetics Journal 9 (1991). 56. Harryette Mullen, Trimmings (New York: Tender Buttons, 1991), 31. 57. Harryette Mullen, S*PeRM**K*T (Philadelphia: Singing Horse Press, 1992) (unpaginated). 58. Harryette Mullen, “An Interview with Harryette Mullen by Calvin Bedient,” Callaloo 19, no. 3 (1996). 59. Harryette Mullen, Muse and Drudge (Philadelphia: Singing Horse Press, 1995), 80. 60. Harryette Mullen, Sleeping with the Dictionary (Berkeley: University of California Press, 2002), 3. 61. Mullen, Sleeping with the Dictionary, 6. 62. Mullen, Sleeping with the Dictionary, 78. 63. Mullen, Sleeping with the Dictionary, 78. 64. In an interview with Calvin Bedient Mullen suggested that in Muse and Drudge she was “trying to make a text that did address various audiences, and so the various registers and different lexicons and different allusive potentials had to do with that diverse audience that 186 NOTES

I want as my readers,” Mullen, “An Interview with Harryette Mullen by Calvin Bedient,” 664. 65. Harryette Mullen, “Imagining the Unimagined Reader: Writing to the Unborn and Including the Excluded,” Boundary 2, Spring (1999), 199. 66. Mullen, “Imagining the Unimagined Reader,” 199. 67. Mullen, “Imagining the Unimagined Reader,” 199. 68. Mullen, “Imagining the Unimagined Reader,” 199, 201. 69. Harryette Mullen, “Sandra Cisneros’s Woman Hollering Creek,” MELUS 21, no. 1 (Spring) (1996), 4. 70. Mullen, Sleeping with the Dictionary, jacket notes. 71. Johanna Drucker, The Alphabetic Labyrinth: The Letters in History and Imagination (London: Thames and Hudson, 1995), 11. 72. Mullen, Sleeping with the Dictionary, 34. 73. Peter Mark Roget, Roget’s Thesaurus of English Words and Phrases (London: Longman, 1962). 74. The American Heritage Dictionary of the English Language (4th ed.) (New York: Houghton Mifflon Company, 2000), xxviii. 75. Mullen, Sleeping with the Dictionary, 49. 76. Mullen, Sleeping with the Dictionary, 10. 77. Mullen, Sleeping with the Dictionary, 19. 78. Mullen, “Sandra Cisneros’s Woman Hollering Creek,” 4. 79. Gayatri Chakravorty Spivak, “Can the Subaltern Speak?” Colonial Discourse and Post-Colonial Theory: A Reader, edited by P. Williams and L. Chrishman (London: Harvester Wheatsheaf, 1993). 80. Steve Evans’ turning of Robert Grenier’s seminal “I HATE SPEECH” assertion into a “hatred of identity,” e.g., advocates a practice capable of resisting “Capital as it now rushes, apparently unopposed, to close a deal long in negotiation, the deal whereby it at last achieves its dream of self-identity in the purge of its final, potentially fatal impurity—people” (Tuscaloosa and London: Alabama University Press, 2002), 13. This essay introduced both Writing from the New Coast and Telling It Slant: Avant-Garde Poetics in the 1990s. 81. Lisa Jarnot “On Identity,” Passages 6: Three Takes from the Poetry Project’s Symposium on “Identity and Invention” May (1998). 82. Rita Felski, Doing Time: Feminist Theory and Postmodern Culture (New York: New York University Press, 2000) and Carolyn Steedman, Landscape for a Good Woman (New York: Rutgers, 1987). 83. Lisa Jarnot, One’s Own Language, Curriculum of the Soul (Canton, NY: The Institute of Further Studies, Glover Publishing, 2002), 2, 3. 84. Lisa Jarnot, Some Other Kind of Mission (Providence: Burning Deck Press, 1996), 15. 85. Jarnot, Some Other Kind of Mission, 17. 86. Jarnot, Some Other Kind of Mission, 17. NOTES 187

87. Lisa Jarnot, The Fall of Orpheus (Buffalo: Shaffaloff, 1993); Lisa Jarnot, Ring of Fire (Cambridge, MA: Zoland Books, 2001). 88. Jarnot, Some Other Kind of Mission, 64. 89. Jarnot, Some Other Kind of Mission, 96. 90. Jarnot, Some Other Kind of Mission, 23. 91. Jarnot, Some Other Kind of Mission, 23. 92. Robert Duncan, Dante: A Curriculum of the Soul 8 (Canton, NY: The Institute of Further Studies, 1974). Bibliography

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access/accessibility Basinski, Michael, 103, 104 as mode of literary representation, Baudrillard, Jean, 78 3, 8–9, 26, 58, 74, 75, 98–9, Beach, Christopher, 7, 44, 48, 79 100, 122, 136, 145 The Beat Poets, 21, 115, 131 as social right, 26, 27, 29, 32, 47, Benhabib, Seyla, 4, 10, 17–20, 48, 97, 104, 126, 145, 152 160n34 See also consumption, democracy, Benjamin, Walter, 59–60, 61, 107, literacy, public sphere 133 Acker, Kathy, 110–14, 124, 127, Bergvall, Caroline, 135 129 Berlant, Lauren, 114, 115, 129 Blood and Guts, 112 Bernstein, Charles, 2, 3, 7, 77, 79, The Childlike Life of the Black 92, 111, 132, 155n6 Tarantula, 111, 113–14 “Artifice of Absorption”, 79 “POLITICS”, 111, 112–13 Berry, Wendell, 44 Alston, Charles, 23 Bertholt, Robert, 103, 162n53 Altieri, Charles, 2, 40, 70, 76, 79 Bérubé, Michael, 43 anarchy, 34–5, 36, 37, 55, 71, 75, Black Arts Movement, 48–9 92–3, 132, 137, 142, 152 Black Mountain Poets, 110, Angelou, Maya, 50 131 Antin, David, 110 Bly, Robert, 1–2 Arendt, Hannah, 5, 18, 19, 40 body, the 31, 36, 56, 102, 103–4, Armantrout, Rae, 73–5 111, 112, 115, 122, 127, 128, “The Garden”, 73 137, 143 Necromance, 73 Bolling, Patricia, 40 “Why Don’t Women do Booth, Alison, 49 Language Orientated Braidotti, Rosi, 14 Writing?” 74–5 Brown, Lee Ann, 134–5, 147 Armstrong, Isobel, 67 Polyverse, 135 Atherton, Hope, 32–3, 164n96 Brown, Wendy, 6, 10, 16–17, 19, Autobiography, 15, 84–5, 92–3, 20, 26, 35 99, 148 Bukowski, Charles, 102–3, AWP (Association of Writers & 115, 116 Writing Programs), 27, 44, Bürger, Peter, 97 60, 64 Burr, Zofia, 8, 50 Burroughs, William, 111, 112 Banana, Anna, 107, 146 Bush, Laura, 1, 5 Baraka, Amiri, 25 Butler, Judith, 10, 17–20, 81 218 INDEX

Cassill, R. V., 44 “American Poetry Lecture Cisneros, Sandra, 145 Evening”, 51 Civil Rights movement, 53, 170n61 “Claudette Colvin Goes to Clinton, Bill, 50, 53 Work”, 52 Cole, Norma, 108 “Climbing In”, 52 Collins, Billy, 2, 7 The Darker Face of the Earth, Colvin, Claudette, 52 53–4 consumption, 9, 19, 29, 31, 51, 97 “The Enactment”, 52 cultural, 26, 75, 76, 104, 125–6 “From My Couch I Rise”, 48 and gender, 9, 11, 26, 73–4, Grace Notes, 49–50 81–2, 89–90, 121, 128–9 “A Handful of Inwardness”, 48 and race, 143 “Lady Freedom among the U.S.”, reading as, 8, 77–8, 81, 86, 122 51 See also access/accessibility Mother Love, 49, 53 Conte, Joseph, 78 On the Bus with Rosa Parks, Cornell, Drucilla, 5, 15, 40 51–4 counter-publics, see public sphere “Rosa”, 52 Creeley, Robert, 121 “Stepping Out”, 48 Crews, Judson, 115 “Stitches”, 49–50 Thomas and Beulah, 53 Dahlen, Beverly, 133 Drucker, Johanna, 106–7, 108, 110, Daly, Lew, 132, 133, 135 119–20, 145–6 Damon, Maria, 8, 101, 178n2 Duncan, Robert, 150–1 Darragh, Tina, 127 Duncombe, Stephen, 125 de Certeau, Michel, 135–6, 145 DuPlessis, Rachel Blau, 22–3 De Lauretis, Teresa, 82 DeKoven, Marianne, 81 education, 25–6, 27–8, 42–3, 45–7, Deleuze and Guattari, 34 60, 122, 145 163n71, n73, democracy n74. See also access, literacy, as accountability, 16, 19–20, 40, workshop poetry 60, 62, 65 Eliot, T. S., 67 as advocacy, 4, 25, 55, 147 Elliot, Karen, 106, 179n20 civic identity, 4, 5, 19 Ellison, Ralph, 23, 25 dissent, 1, 2, 38, 47, 101 Engle, Hualing Nieh, 46 free market, 3, 4, 9, 34, 46, 132 Engle, Paul, 43, 44–7, 63 See also public sphere and Ensler, Eve, 107 access/accessibility Enzensberger, Hans Magnus, 58 Derrida, Jacques, 67 Epstein, Joseph, 44, 48 Desnos, Robert, 62 Evans, Steve, 132, 147, 186n80 Di Prima, Diane, 20–1 Dickinson, Emily, 31 Felman, Shoshana, 61 Dove, Rita, 10–11, 40, 47–55, 58, Felski, Rita, 7, 148 59, 62–3, 64, 65, 70–1 feminism “After Reading Mickey in the Butler-Benhabib debate, 17–19, Night Kitchen for the Third 20 Time before Bed”, 49–50 and class, 14, 100, 128 INDEX 219

community, 6, 80, 99, 107, 127, “Notebook of the Uprising”, 137 60–2 identity, 5–6, 7, 9, 15, 16, 21, 49, “Taking Off My Clothes”, 56 64–5, 121, 127 Fraser, Kathleen, 20–1, 22–3, 108 Ms, 123–4 Fraser, Nancy, 6, 19, 20, 36 and postmodernism, 14, 42, 47, Frost, Robert, 5, 50, 175n20 48, 127, 167n16 Fulton, Alice, 65 and post-structuralism, 14, 16 Fulton, Len, 102–3, 106, and psychoanalysis, 6, 16, 109 115, 121 and public-private division, 5–7, 13, 39–40, 41, 58, 75 Garrison, Ednie, 127 and race, 14, 16, 23–5 Gates, Henry Louis, 144 riot grrrl movement, 38, 126–9 gender and sex industry, 90, 112 and agency, 18, 48, 51, 52, 80–2, second wave, 5, 13, 14, 20–1, 83, 88, 152, 160n34 22–3, 48–9, 65, 122, 128, and civic identity, 5 135 and class, 11, 29, 37, 52, 100, and technology, 14 103–4, 114–24, 128, 129, third wave, 6–7, 9, 10, 13–17, 143, 148, 152 83, 100, 126–7, 152 and consumption, 9, 11, 26, See also feminist aesthetics, 73–4, 81–2, 89–90, 121, feminist politics, gender, 128–9 sexuality and food, 108–9, 110 feminist aesthetics, 6–7, 9–10, performance of, 17 14–15, 21–3, 26, 36, 42, 49, and race, 25, 33, 37, 52, 123 74, 75, 80–2, 83, 84, 93–4, sexual difference 6, 16 107, 108, 121, 135, 156n13, sexual labor, 105, 112–4, 115–16, 160n34, 161n46 118 feminist politics, 5–6, 19, 26, 80, See also the body, feminism, 93–4, 99, 115, 137 feminist aesthetics, feminist Fluxus, 105, 108 politics, Language poetry, Forché, Carolyn, 10, 40, 54–63, 64, sexuality 65, 70–1, 145, 152 Gilbert, Sandra, 21, 161n45 Against Forgetting: Twentieth Gilligan, Carol, 17 Century Poetry of Witness Ginsberg, Allen, 29, 121 (ed.), 59 Gioia, Dana, 2, 3, 7, 155n7 The Angel of History, 57–8, Giorno, John, 111 59–62, 171n93 Giroux, Henry, 42 “Book Codes”, 60 Gitin, Maria, 108–9 “Burning the Tomato Worms”, Gizzi, Peter, 132, 133–4, 135 55 Glazier, Loss Pequeño, “The Colonel”, 56–7 103, 115 The Country Between Us, 56–8 Glück, Robert, 114 Gathering the Tribes, 55–6 Gogol, Nikolai, 96 “Mientras Dure Vida, Sobra el Golding, Alan, 11, 43, 79 Tiempo”, 56 Goldman, Emma, 35 220 INDEX

Graham, Jorie, 10, 40, 63–71, 75 “Reason”, 86–7 Best American Poetry 1990 (ed.), “Redo”, 84–5 63–4 “The Rejection of Closure”, “Commute Sentence”, 69 83, 84 “Copy (Attacks on the Cities Sight (with Leslie Scalapino), 2000–2003)”, 69 91–2 The Errancy, 67–8 Hirsch, E. D., 145 “The Guardian Angel of the Little Hirschkop, Ken, 4, 18 Utopia”, 67 Hogue, Cynthia, 66 “Manifest Destiny”, 66–7 Holden, Jonathan, 42, 57, 155n8, “Le Manteau de Pascal”, 67–8 167n13 Materialism, 66–7 Holman, Bob, 111 Never, 68 Hopkins, Gerard Manley, 68 Overlord, 68–70 Howe, Fanny, 63, 146 “Passenger”, 69–70 Howe, Florence, 21 “Praying”, 69 Howe, Susan, 10, 20, 22, 31–6, 38, “Spoken from the Hedgerows”, 63, 108, 132, 138 69 “Articulation of Sound Forms in Greer, Michael, 56–7 Time”, 32–4, 164n96 Grosz, Elizabeth, 14 The Birth-Mark: Unsettling the Gubar, Susan, 21, 161n45 Wilderness in American Guillory, John, 37 Literary History, 32 Gwynn, R. S., 121 “Captivity and Restoration”, 33 “History of the Western H.D., 49 Borders”, 31–2 Habermas, Jürgen, 4, 9, 17, 18, “Scattering as Behavior Toward 25–6, 36, 48. See also public Risk”, 34 sphere The Singularities, 32–5 Hamill, Sam, 1–2 “Thorow”, 34 Hanna, Kathleen, 127 Hughes, Langston, 23, 31, 145 Hanson, Jefferson, 132 Hunt, Erica, 10, 36–8, 135, 144 Haraway, Donna, 14 Arcade (with Alison Saar), 37 Harrington, Joseph, 8–9 “Arcade”, 37 Harryman, Carla, 112 Local History, 38 Hartley, George, 78 “Notes for an Oppositional Hass, Robert, 146 Poetics”, 36–7 Hejinian, Lyn, 11, 65, 70, 74, “the voice of no”, 37 75–6, 82–91, 92, 93, 94, 96, 99 individualism, 4, 5, 29, 35, 39–40, “The Guard”, 84 43, 47, 63, 65–6, 76, 95, 137, “Language and Realism”, 84 152 Leningrad: American Writers in Irigaray, Luce, 6, 54, 84, 109 the Soviet Union, 87 My Life, 84–6, 88 Jameson, Frederic, 78, 83, 174n20 Oxota, 87–91, 96 Janet, Janet, 108, 180n29 “The Person and Description”, 87 Jarman, Mark, 95 INDEX 221

Jarnot, Lisa, 11, 132, 147–52 and the academy, 11, 92, 104, “Figure One. Looking forward 173n8 to playing some more”, community, 59, 64, 73–82, 83, 149 87, 93, 131 “Introduction”, 148–9 as counter-public, 11, 75, 77, 94, One’s Own Language, 148, 150–1 100 Some Other Kind of Mission, and gender, 73–4, 80–2, 83, 92 148–50, 151 influence of, 133, 136, 142, 143, Johnson, Ray, 105 144, 150 Jong, Erica, 146 and the reader, 76–82, 88, 98, Jordan, June, 10, 20, 22–31, 32, 137, 174n14, n19, n20 35–6, 38, 58, 60, 145, 152, See also specific authors 164n85 Lara, Maria Pia, 160n34 Dry Victories, 28 Lazer, Hank, 78, 79 “From Sea to Shining Sea”, Lenhart, Gary, 95 29–31 Levertov, Denise, 20, 121 “Getting Down to Get Over”, Levinas, Emmanuel, 133 24–5 Lifshin, Lyn, 115, 121–4, 129 His Own Where, 28 “Alberta Hunter”, 123–4 “Report from the Bahamas”, 29, Cold Comfort: Selected Poems 164n85 1970–1996, 122–3 Who Look at Me, 23–4 “Madonna”, 121 Juhasz, Suzanne, 161n46 Offered by Owner, 122–3 Lippard, Lucy, 108 Kalaidjian, Walter, 2, 44, 79 literacy, 2, 26, 27–8, 32, 35, 38, 44, Kaplan, Cora, 161n46 100, 136, 144–5, 147, 148, Kauffman, Linda S., 111 150–1, 152. See also access, Kelly, Robert, 110 education Kennedy, John F., 50 literary academy, 2, 7, 10, 11, 27, Kennedy, Pagan, 126 29, 38, 40–7, 63, 64, 70–1, Kimball, Cynthia, 132 76–7, 92, 104, 137, 150 King, Geraldine, 115 Locklin, Gerald, 115 King, Katie, 21 Long, Elizabeth, 8 King, Linda, 115, 116 Longenbach, James, 8 Kinnell, Galway, 21 Lopate, Phillip, 101, 163n73 Kluge, Alexander, 9, 10, 11, 19, 41, Lowell, Robert, 20 51, 75, 104–5, 120, 147. See Lustig, Laura Joy, 128 also public sphere “Death Is Good If You Don’t Knowles, Alison, 108 Know How to Properly Be Kohlberg, Lawrence, 17 Alive”, 128 Kristeva, Julia, 80–1 Lyotard, Jean-François, 86–7 Kyger, Joanne, 135 mackinnon, andrea, 117–18, 129 Laclau, Ernesto, 3, 8–9, 37, 135 “Lounge Poem”, 117–18 Language poetry, 73–100, 183n12, MacLow, Jackson, 110 186n80 Magritte, Rene, 67–8 222 INDEX

Mail Art, 105, 107, 108, 111 Niedecker, Lorine, 135 Marcuse, Herbert, 110 Nielsen, Aldon Lynn, 25 Marks, Steven, 131 Nussbaum, Martha, 160n34 Mattison, Harry, 56 Mayer, Bernadette, 107, 135 O’Hara, Frank 135 Menebroker, Ann, 115 O’Sullivan, Maggie, 137 Merleau-Ponty, Maurice, 93, obscene, 11, 100, 103–4, 112, 114, 177n81 120, 128, 148. See also riot Merwin, W. S., 21 grrrl, zines, small presses Messerli, Douglas, 78 Olds, Sharon, 63 Miller, Daniel, 82 Oliver, Mary, 146 Morris, Debra, 40 Olson, Charles, 5, 110, 150 Mouffe, Chantal, 4, 8–9, 10, 12, Oppen, George, 5, 67, 133 20, 37, 51, 152 Osman, Jena, 132, 137, 151 Moyers, Bill, 39 Chain (ed. with Juliana Spahr), Mullen, Harryette, 11, 141–7, 137 151–2 The Lab Book (ed.), 132–5, 148 “Bilingual Instructions”, 147 Ostriker, Alicia, 21–2, 161n45 “Bla bla”, 145–6 “Denigration”, 147 Parker, Pat, 52 “jinglejangle”, 145–6 Perelman, Bob, 78 Muse and Drudge, 144, 185n64 Perkins, Stephen, 106 “Roget’s neighborhood”, 146 Perloff, Marjorie, 22, 78–9, 95 Sleeping with the Dictionary, 144, Piercy, Marge, 21, 161n45 145–7 Pinsky, Robert, 5, 57 S*PERM**K*T, 143–4 Plath, Sylvia, 20, 22, 49 Trimmings, 143 “PoetsAgainsttheWar” movement, Murphy, Sheila E., 108 1–2 Muske, Carol, 49 Pound, Ezra, 67 Myers, Jack, 2–3 Prevallet, Kristin, 134, 137 Myles, Eileen, 97, 111 private, 39–47 as autonomy, 2 Nancy, Jean Luc, 10, 16 and class privilege, 16, 94, nationalism, 3, 5, 29, 33, 46, 49, 146–7 51, 89, 114 as domestic realm, 24, 40 Naylor, Paul, 8–9 as imaginary domain, 15 Negt, Oskar, 9, 10, 11, 19, 41, 51, as interiority, 21 75, 104–5, 120, 147. See also as intimacy, 40, 48, 65, 70, public sphere 75, 139 Nehring, Neil, 127 as non-state economics, 40, 46 Nelson, Cary, 7–9 relations with the public and the Neruda, Pablo, 58, 145 political, 10, 13, 15, 21, 50, New Criticism, 43, 168n31 51, 52, 62–3, 110, 137, 131, New York School, 47, 103, 105, 159n12 131 as site of freedom, 51 INDEX 223

as the sexual, 40, 103–4, 114, Riviere, Joan, 81 141 Robson, Ruthann, 109–10 See also privatization Rose, Jacqueline, 14 privatization Ross, Andrew, 78 privatized poetics, 63, 71 Rothenberg, Jerome, 110 of the state, 97 Russia, 87–91, 96 of U.S. culture, 2, 10–11, 16, Russo, Linda, 134, 135 39–40, 129 See also private Sandel, Michael, 54 public sphere, 6, 7–8, 96, 98, 103, Sappho, 145 136 Scalapino, Leslie, 11, 70, 74, 75–6, agonal (radical) model of, 4, 82, 91–9, 139, 150, 152 17–19, 36, 37 “Autobiography”, 92–3, 99 counter-publics, 7, 9, 11, 19–20, “buildings are at the far end”, 94 35, 75, 77, 79–80, 94, 100, “The Cannon”, 92 101, 104, 105, 114, 120, The Front Matter, Dead Souls, 129, 152 96–9 deliberative model of, 4, 19 Sight (with Lyn Hejinian), 91–2 Habermas, 4, 9, 17, 18, 25–6, that they were at the beach, 94–5, 36, 48 98 proletarian sphere (Negt and Seiler, Sheila, 116 Kluge), 11, 104–5, 120, 147 Sexton, Anne, 20 public spheres of production sexuality, 11, 12, 14, 34, 40, 52, 79, (Negt and Kluge), 9, 10, 19, 90, 103–4, 112–17, 123, 124, 41, 51 128, 129 See also access, democracy Showalter, Elaine, 15 Pushkin, Alexander, 88 Silliman, Ron, 77, 78 Simpson, Megan, 80 Quartermain, Peter, 34, 78 small presses, 100, 101–12, Quayle, Dan, 97–8 114–16, 119–24, 125, 129, queer identity, 104, 135 137 Assembling, 106 R., Johnny, 126 Atticus, 106 Radway, Janice, 14 Central Park, 107 Rampersad, Arnold, 49 Co-Lingua, 106, 108 Ransom, John Crowe, 43 Core, 106 Rasula, Jed, 2, 79 How(ever), 107 Readings, Bill, 27, 42 Impetus, 115, 116, 118, 119–20, Reed, Ishmael, 25 123 Rehm, Pam, 134–5, 137 Implosion, 111 Reinfield, Linda, 78, 174n14 Lilliput Review, 115 Retallack, Joan, 63, 81–2, 108, 137 Lost and Found Times, 106, 115, Rich, Adrienne, 21, 166n12 126 Riley, Denise, 65, 137 MalLife, 106 riot grrrl movement, 38, 126–9 Meaning, 106 224 INDEX small presses—continued Thomas, Lorenzo, 44, 168n31 Nitrous Oxide, 106 Thoreau, Henry David, 34–5, NRG, 106, 108 165n104 Pearl, 115–16 Thurston, Michael, 8 Photostatic, 104, 106, 107, 108, Townsend, Cheryl, 115, 116, 179n8 118–19, 129, 150 Plastic Tower, 115, 121 Tuttle, Bill, 132 Poetry Motel, 106 Purr, 115–16 Vendler, Helen, 63, 66 Slipstream, 109, 115 Vickery, Ann, 80 Vile, 106, 107 visual experimentation, 102, 103, Wormwood Review, 115, 121 104, 105–10, 148–9 See also zines Smith, Joan Jobe, 114 Wakoski, Diane, 21–2 Smith, Mary, 52 Waldman, Anne, 111 Sophocles, 53 Wallace, Mark, 131, 132, 133–4, Spahr, Juliana, 11, 65, 132, 133, 135, 150 135, 136–42,147, 151–2 Ward, Diane, 137 American Women Poets in the Warner, Michael, 7, 39–40, 104, Twenty First Century (ed.), 129 137 Watten, Barrett, 77, 83 Chain (ed. with Jena Osman), Weinen, Mark Van, 8 136, 137 Weiner, Hannah, 135 “documentary”, 138–9 Weingarten, Roger, 2–3 Everybody’s Autonomy, 137, 141 Whitehead, Kim, 25 Fuck-You-Aloha-I-Love-You, Whitman, Walt, 5, 25, 29, 30, 36, 140–1 135, 145 “gathering: palolo stream”, Wilbers, Stephen, 43 140 Williams, Patricia J., 10, 16, 19, 26, Response, 138–9 146–7 Spiderwasp, 136–7 Williams, William Carlos, 5 “switching”, 141 Willis, Elizabeth, 132, 133, 135 “testimony”, 128, 139 Wittgenstein, Ludwig, 59, 60 things of each possible relation workshop poetry, 2–3, 41–2, hashing against one another, 43–7, 49, 57, 60, 63, 64, 140 134, 162n53, 168n31, “witness”, 138, 139 169n39 Spillers, Hortense, 24 Spivak, Gayatri, 14, 55 Young, Robert, 42 Steedman, Carolyn, 148 Stegner, Wallace, 43 Ziarek, Ewa Plonowska, 19–20, 36, Stein, Gertrude, 141, 143 37, 55, 71 Stein, Kevin, 55 zines, 103, 104, 105–6, 122, Stevens, Wallace, 31 123–4, 125–8, 148, 152, Sullivan, Gary, 131 179n8, 182n79 INDEX 225

Apology to Idiots, 128 he wants his meat in the woman An Appeal to the Homeless, who’s dead, 124 125–6 Literary Laxative, 128 Beer Frame: The Journal of Oscar, 128 Inconspicuous Consumption, SHOULDN’T YOU BE 126 WORKING? 126 Bitch, 126 See also obscene, small presses, Bust, 126, 127 visual experimentation FactSheet Five, 126 Zona, Kirstin Hotelling, 65