Lyn Hejinian & Barrett Watten 
A Guide to Poetics Journal 
Writing in the Expanded Field, 1982–1998

<P>Lyn Hejinian and Barrett Watten are internationally recognized poet/critics. Together they edited the highly influential Poetics Journal, whose ten issues, published between 1982 and 1998, contributed to the surge of interest in the practice of poetics. A Guide to Poetics Journal presents the major conversations and debates from the journal, and invites readers to expand on the critical and creative engagements they represent. </P><P>In making their selections for the guide, the editors have sought to showcase a range of innovative poetics and to indicate the diversity of fields and activities with which they might be engaged. The introduction and headnotes by the editors provide historical and thematic context for the articles. The Guide is intended to be of sustained creative and classroom use, while the companion Archive of all ten issues of Poetics Journal allows users to remix, remaster, and extend its practices and debates. (See http://www.upne.com/0819571236.html for more information on the digital archive.)</P>

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<P>How to Use This Guide<BR>Introduction<BR>PART I: NUMBERS 1 – 4<BR>Close Reading: Leavings and Cleavings — Steve Benson<BR>Writing and Method —Charles Bernstein<BR>Forbidden Knowledge — Beverly Dahlen<BR>Language/Mind/Writing — Alan Davies<BR>His Heart Is a Lute Held Up: Poe and Bataille — Robert Glück<BR>The Rejection of Closure — Lyn Hejinian<BR>My Emily Dickinson — Susan Howe<BR>Continuous Reframing — George Lakoff<BR>Some Ways Philosophy Has Helped to Shape My Work — Jackson Mac Low<BR>Plotless Literature: Vasily Rozanov — Viktor Shklovsky<BR>Migratory Meaning: The Parsimony Principle in the Poem — Ron Silliman<BR>The Politics of Style — Barrett Watten<BR>Constellation I: Practices of Poetics<BR>PART II: NUMBERS 5 – 7<BR>Ugly — Kathy Acker<BR>Total Equals What: Poetics and Praxis — Bruce Andrews<BR>Mainstream Marginality — Rae Armantrout<BR>’Hey, Man, My Wave!’: The Authority of Private Language — Michael Davidson<BR>Hypergraphy: A Note on Maurice Lemaître’s Roman Hypergraphique — Johanna Drucker<BR>Toy Boats — Carla Harryman<BR>Jameson’s Perelman: Reification and the Material Signifier — George Hartley<BR>Good and Bad/Good and Evil: Pound, Celine, and Fascism — Bob Perelman<BR>Poets Theater: Two Versions of Collateral: Raising Collateral — Kit Robinson; Subtext in Collateral — Nick Robinson<BR>Pattern—and the ‘Simulacral’ — Leslie Scalapino<BR>An Example from the Literature — Peter Seaton<BR>Narrative Concerns — Warren Sonbert<BR>Constellation II: New Methods and Texts<BR>PART III: NUMBERS 8 – 10<BR>Seeking a Sentence — Pierre Alferi<BR>Can’t We Just Call It Sex?: In Memory of David Wojnarowicz — Dodie Bellamy<BR>I(s) — Arkadii Dragomoshchenko<BR>Cold Heaven: The Uses of Monumentality — Jerry Estrin<BR>Miscegenated Texts and Media Cyborgs: Technologies of Body and Soul — Harryette Mullen<BR>’A Form of Assumptions’ — Ted Pearson<BR>Time and Materials: The Workplace, Dreams, and Writing — Kit Robinson<BR>The Death of Lady Day — Andrew Ross<BR>What/Person: From an Exchange — Leslie Scalapino and Ron Silliman<BR>The Marks Are Waiting — Lorenzo Thomas<BR>Thinking You Know — Reva Wolf<BR>Memory and Immorality in Musical Composition — John Zorn<BR>Constellation III: The Expanded Field<BR>Acknowledgments and Permissions<BR>Appendixes<BR>Contributor Index<BR>Keyword Index<BR>Index</P>

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<P>LYN HEJINIAN is the author of many books of poetry, essays, and translations. Among her best-known works are My Life, A Border Comedy, The Book of a Thousand Eyes, and The Language of Inquiry. She teaches at University of California, Berkeley. BARRETT WATTEN teaches at Wayne State University in Detroit. His major collections include Frame, Progress/Under Erasure, Bad History, and The Constructivist Moment: From Material Text to Cultural Poetics. Both are among the ten authors of The Grand Piano: An Experiment in Collective Autobiography.</P>