Lyn Hejinian and Barrett Watten are across the world well-known 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 consultant 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 choices for the consultant, the editors have sought to exhibit more than a few cutting edge poetics and to point the variety of fields and actions with which they may be engaged. The creation and headnotes via the editors offer old and thematic context for the articles.
The advisor is meant to be of sustained artistic and lecture room use, whereas the better half Archive of all ten problems with Poetics Journal permits clients to remix, remaster, and expand its practices and debates.
Read or Download A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998 PDF
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Additional resources for A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998
Example text
Responses ranged from descriptions of the place of narrative in artistic practice (Alan Bernheimer, Michael Davidson, Maxine Chernoff, Rae Armantrout, Diane Ward, Alice Notley, Tina Darragh) to enactment of nonnarrative strategies (cris cheek, Fiona Templeton). Two important dimensions of the forum were the extension of the question to visual artists (Doug Hall, Howard Fried), musicians (Andrew Voigt), and filmmakers (Warren Sonbert); and a set of theoretical positions that either supported the New Narrative (Bruce Boone, “A Narrative Like a Punk Picture: Shocking Pinks, Lavenders, Magentas, Sickly Greens”; Robert Glück, “Baucis and Philemon”) or worked between narrative and nonnarrative (Carla Harryman’s “Toy Boats,” which begins, “I prefer to distribute narrative rather than deny it”).
A reader who approaches such writing to put the pieces together and figure out what the author really means is likely to feel cheated, because the author’s intention is not to convey a whole statement that absorbs potential dialogue but rather to construct a framework of significations of urgency and coherence and interest in itself, for reading. Identity, passions, doubts, recollections, values, dazed impressions, specific needs, criticism, awe, distraction, sensuality, and an urge toward the realization of understanding in a form still operate, at will.
Finally, we have made available the entire run of the journal (including full-length versions of articles that have been edited) as a companion Poetics Journal Digital Archive and provide a short section titled “How to Use This Guide” in order to bridge the gap between the guide and the archive. Our hope is that, with this experiment in dual print and digital publication, the writing we assembled in the journal and the activity in innovative poetics it represents will be made newly available for use.