Lyn Hejinian and Barrett Watten are across the world famous poet/critics. jointly they edited the hugely influential Poetics magazine, whose ten concerns, released among 1982 and 1998, contributed to the surge of curiosity within the perform of poetics. A advisor to Poetics Journal offers the main conversations and debates from the magazine, and invitations readers to extend at the severe and artistic engagements they represent.
In making their decisions for the consultant, the editors have sought to show off a number of cutting edge poetics and to point the range of fields and actions with which they may be engaged. The advent and headnotes by way of the editors supply historic and thematic context for the articles.
The consultant is meant to be of sustained inventive and lecture room use, whereas the significant other Archive of all ten problems with Poetics Journal permits clients to remix, remaster, and expand its practices and debates.
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Extra resources for A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998
The issue continues with a series of positions that investigate the tension between the need for narrative and the need to escape its confines: in “The Knowledge of Narratives,” Peter Middleton defends the importance of narrative for science; Michael Anderson’s “Framing the Construals” rejects narrative as a universal element of communication and calls for a semiotics of interpretation; while in his piece “And Who Remembers Bobby Sands,” Steve McCaffery rejects univocal narrative as a socially distorted overriding of plurality: Narrative is now autotelic inside its own repetitions.
One may argue over the reasons for the difference between our aesthetics—and we did, in countless meetings with our counterparts on both sides of the collapsing border between antagonists. Whereas the dissolution of Cold War tensions has now been seen as linked to an assertion of “identity politics” in language-centered writing (in an interesting but speculative essay by Walter Benn Michaels in The Shape of the Signifier), the publication of Elsewhere, Hejinian’s translations of Arkadii Dragomoshchenko and her own Oxota: A Short Russian Novel, Kit Robinson’s translations of Ilya Kutik, and my own Under Erasure are marked sites of a poetics of alterity at the Cold War’s devolution.
Benson’s demonstration of a poetics of reading looks forward to projects such as Susan Howe’s “My Emily Dickinson” (PJ 4) and Johanna Drucker’s “Hypergraphy: A Note on Maurice Lemaître’s Roman Hypergraphique” (PJ 6), anticipating in turn the poetics of the material text in Jerome McGann’s criticism and the interest in the materiality of poetic texts, seen as socially produced, in the late 1980s. Reading is nearly constant—walking on the street, there are all the signs; at breakfast there’s the cereal box.
A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998