A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998

Acknowledgments and Permissions

427 Acknowledgments and Permissions The editors thank Alan Golding, Lynn Keller, and Adelaide Morris for their support of Poetics Journal during the process of realizing the present volume and digital archive. Thanks are also due to Andrew Jaron for his help in preparing the manuscript for publication. credits Thanks are due to the authors, editors, and executors who have granted permission for the inclusion of the materials that comprise this volume: Kathy Acker,“Ugly.” Reprinted with permission of Matias Viegener of the Kathy Acker Literary Trust Pierre Alferi,“Seeking a Sentence.” Reprinted with permission of the author and translator Joseph Simas Bruce Andrews,“Total Equals What: Poetics and Praxis.” Reprinted with permission of the author Rae Armantrout,“Mainstream Marginality.” Reprinted with permission of the author Dodie Bellamy,“Can’t We Just Call It Sex?: In Memory of David Wojnarowicz.” Reprinted with permission of the author Steve Benson,“Close Reading: Leavings and Cleavings.” Reprinted with permission of the author Charles Bernstein,“Writing and Method.” Reprinted with permission of the author Beverly Dahlen,“Forbidden Knowledge.” Reprinted with permission of the author Michael Davidson,“‘Hey, Man, My Wave!’: The Authority of Private Language.” Reprinted with permission of the author Alan Davies,“Language/Mind/Writing” was previously published in Signage (Roof: New York City, 1987). Reprinted with permission of the author Arkadii Dragomoshchenko,“I(s).” Reprinted with permission of the author Johanna Drucker,“Hypergraphy: A Note on Maurice Lemaître’s Roman Hypergraphique.” Reprinted with permission of the author Jerry Estrin,“Cold Heaven: The Uses of Monumentality.” Reprinted with permission of Laura Moriarty, executor of Jerry Estrin’s estate Robert Glück,“His Heart Is a Lute Held Up: Poe and Bataille.” Reprinted with permission of the author Carla Harryman,“Toy Boats” was published in Animal Instincts (This, 1989), and There Never Was a Rose Without a Thorn (City Lights, 1995). Reprinted with the permission of the author 428 acknowledgments and permissions George Hartley,“Jameson’s Perelman: Reification and the Material Signifier” was published in Textual Politics and the Language Poets, Bloomington: Indiana University Press, 1989. Reprinted with permission of the author Lyn Hejinian,“The Rejection of Closure.” Reprinted with permission of the author Susan Howe,“My Emily Dickinson.” Reprinted with permission of the author George Lakoff,“Continuous Reframing,” © 2013 George Lakoff. Reprinted with permission of the author Jackson Mac Low,“Some Ways Philosophy Has Helped to Shape My Work.” Reprinted with permission of Anne Tardos, executor of Jackson Mac Low’s estate Harryette Mullen,“Miscegenated Texts and Media Cyborgs: Technologies of Body and Soul,” copyright Harryette Mullen. Reprinted with permission of the author Ted Pearson,“A Form of Assumptions.” Reprinted with permission of the author Bob Perelman,“Good and Bad/Good and Evil: Pound, Céline, and Fascism.” Reprinted permission of the author Kit Robinson,“Time and Materials: The Workplace, Dreams, and Writing” and “Raising Collateral.” Reprinted with permission of the author Nick Robinson,“Subtext in Collateral.” Reprinted with permission of the author Andrew Ross,“The Death of Lady Day.” Reprinted with permission of the author Leslie Scalapino,“What/Person: From an Exchange” and “Pattern—and the ‘Simulacral.’” Reprinted with permission of the author Peter Seaton “An Example from the Literature.” Reprinted with permission of the author Viktor Shklovsky,“Plotless Literature: Vasily Rozanov.” Translation reprinted with permission of Richard Sheldon Ron Silliman,“What/Person: From an Exchange” and “Migratory Meaning: The Parsimony Principle in the Poem.” Reprinted with permission of the author Warren Sonbert,“Narrative Concerns,” copyright the estate of Warren Sonbert. Reprinted courtesy of the estate of Warren Sonbert, Ascension Serrano, executor Lorenzo Thomas,“The Marks Are Waiting,” copyright Lorenzo Thomas. Reprinted with permission of A. L. Nielsen, literary executor for Lorenzo Thomas Barrett Watten,“The Politics of Style.” Reprinted with permission of the author Reva Wolf,“Thinking You Know.” Reprinted with permission of the author John Zorn,“Memory and Immorality in Musical Composition.” Reprinted with permission of the author We are grateful for permission to reprint the following illustrations: Pages 217, 219, 220, 221: Maurice Lemaître: four pages from La plastique lettriste et hypergraphique, used as illustrations in “Hypergraphy: A Note on Maurice Lemaitre’s Roman Hypergraphique,” by Johanna Drucker acknowledgments and permissions 429 Page 327: Artists Rights Society, for Marcel Duchamp, With Hidden Noise; © 2010 Artists Rights Society (ARS), New York-ADAGP, Paris-Sucession Marcel Duchamp Page 328. Mies van der Rohe, Seagram Building, New York; © 2010 Artists Rights Society (ARS), New York-VG Bild-Kunst, Bonn...