Leslie Scalapino 
The Public World/Syntactically Impermanence 

<P>The Public World / Syntactically Impermanence is a brilliant consideration of the strategies of poetry, and the similarities between early Zen thought and some American avant-garde writings that counter the ‘language of determinateness, ‘ or conventions of perception. The theme of the essays is poetic language which critiques itself, recognizing its own conceptual formations of private and social, the form or syntax of the language being ‘syntactically impermanence.'</P><P>Whether writing reflexively on her own poetry or looking closely at the writing of her peers, Leslie Scalapino makes us aware of the split between commentary (discourse and interpretation) and interior experience. The ‘poetry’ in the collection is both commentary and interior experience at once. She argues that poetry is perhaps most deeply political when it is an expression that is not recognized or readily comprehensible as discourse.</P>

Table of Content

<P>Demonstration/Commentary I. The Radical Nature of Experience<BR>The Cannon<BR>Silence and Sound/ Text<BR>Footnoting<BR>thin-space<BR>Experience/’On’Sight<BR>’Thinking Serially’ in For Love, Words, and Pieces<BR>The Recovery of the Public World<BR>As: All Occurrence in Structure, Unseen II. The Weatherman Turns Himself In<BR>As: All Occurrence in Structure, Unseen-(Deer Night)<BR>Friendship</P>

About the author

<P>LESLIE SCALAPINO is author of numerous books of poetry, essays, ad plays, as well as the novel Defoe (Sun and Moon, 1994). Among her books of poetry are way (1988), that they were at the beach-aeolotropic series (1985) and Considering how exaggerated music is (1982), all published with North Point Press. Wesleyan has published her most recent books: New Time (1999) and The Front Matter, Dead Souls (1996).</P>