Lyn Hejinian and Barrett Watten are across the world famous poet/critics. jointly they edited the hugely influential Poetics magazine, whose ten matters, released among 1982 and 1998, contributed to the surge of curiosity within the perform of poetics. A advisor to Poetics Journal offers the key conversations and debates from the magazine, and invitations readers to extend at the severe and artistic engagements they represent.
In making their choices 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 could be engaged. The advent and headnotes by means of the editors supply old and thematic context for the articles.
The advisor is meant to be of sustained inventive and lecture room use, whereas the spouse 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
A thought of the writer isn’t going to be duplicated. (20) For Scalapino, narrative is a necessary reliving of traumatic experience in a way that is dissimilar to its past moment; narrative joins with nonnarrative at 20 a gu i de to poetics jou rnal the site of trauma. Ed Friedman’s “How Space Stations Gets Written”—a narrative of a writing project that works between transcripts of the Apollo lunar mission and his own diaries—takes a more ameliorative approach to narrative, which he sees as distributed among the many voices of the ongoing experiment.
As Steve Benson writes in “Mediations in an Emergency”: “The sequence of events one encounters and tells oneself of and links in association may be made narrative, by condensation and displacement, much as I tell myself the story of my life, moment to moment, in as many voices and forms and styles as I may know” (7). Between writing and reading, narrative is a necessary sense-making activity that must be negotiated. Leslie Scalapino’s “Poetic Diaries” takes up the narrative of Tales of Genji and extends it to language-centered prose texts such as Clark Coolidge’s Mine: The One That Enters the Stories, seeing narrative as an exteriorization of subjectivity: Therefore my thought, and events which are painful to me—and the world, are the same.
The relationship of the reader to the text (and implicitly to the writer, to the images and identities fantasized through the text’s suggestions) is existentially personal and individual in its focused laying bare of the reader’s imaginative commitment and response to experience. How it feels to read is no longer to be termed merely in the repertoire of stock emotions. The mode of production of the text and its manifest form are also increasingly subject to a reader’s interpretation and response, economics grounded in appeal to audience and in the concrete artifact; the poetry’s distribution becomes even more legible as a vital aspect of its actual meaning than the author’s intentions in inscribing it.