91桃色

Language writing, the most controversial avant-garde movement in contemporary American poetry, appeals strongly to writers and readers interested in the politics of postmodernism and in iconoclastic poetic form. Drawing on materials from popular culture, avoiding the standard stylistic indications of poetic lyricism, and using nonsequential sentences are some of the ways in which language writers make poetry a more open and participatory process for the readers. Reading this kind of writing, however, may not come easily in a culture where poetry is treated as property of a special class. It is this barrier that Bob Perelman seeks to break down in this fascinating and comprehensive account of the language writing movement. A leading language writer himself, Perelman offers insights into the history of the movement and discusses the political and theoretical implications of the writing. He provides detailed readings of work by Lyn Hejinian, Ron Silliman, and Charles Bernstein, among many others, and compares it to a wide range of other contemporary and modern American poetry.


A variety of issues are addressed in the following chapters: 鈥淭he Marginalization of Poetry,鈥� 鈥淟anguage Writing and Literary History,鈥� 鈥淗ere and Now on Paper,鈥� 鈥淧arataxis and Narrative: The New Sentence in Theory and Practice,鈥� 鈥淲rite the Power,鈥� 鈥淏uilding a More Powerful Vocabulary: Bruce Andrews and the World (Trade Center),鈥� 鈥淭his Page Is My Page, This Page Is Your Page: Gender and Mapping,鈥� 鈥淎n Alphabet of Literary Criticism,鈥� and 鈥淎 False Account of Talking with Frank O’Hara and Roland Barthes in Philadelphia.鈥�