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Acknowledgments
- University of Iowa Press
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Several of these essays appeared in different versions in the following publications and are printed here with the gracious permission of their authors and publishers: Rae Armantrout’s “Darkinfested” also appears in her Collected Prose (San Diego: Singing Horse Press, 2007). An earlier version of Rachel Blau DuPlessis ’s essay was published as “Lorine Niedecker’s ‘Paean to Place’ and Its Fusion Poetics” in Contemporary Literature 46.3 (Fall 2005). A similar version of Mary Pinard’s essay was published as “Lorine Niedecker: Environment and a Grammar of Flooding” in ISLE: Interdisciplinary Studies in Literature and the Environment (Summer 2001). An earlier version of Lisa Robertson’s essay “In Phonographic Deep Song: Sounding Niedecker” was published in The Poetry Project Newsletter No. 198 (February/March 2004). Another version of Anne Waldman’s “Who Is Sounding? Gap, Awakened View, Silence, Cages, Niedecker” appears in Outrider (Albuquerque: La Alamada Press, 2006). Eliot Weinberger’s “Niedecker/Reznikoff ” first appeared in Jacket #30 (July 2006). Elizabeth Willis’s essay “The Poetics of Affinity: Niedecker, Morris, and the Art of Work” was published in Contemporary Literature 46.4 (Winter 2005). Quotations from Niedecker’s Collected Works appear by kind permission of the University of California Press and the Estate of Lorine Niedecker. My thanks to Cid Corman, Bob Arnold, and Jenny Penberthy for making this possible. Each of the writers included within this volume originally composed a talk for the Lorine Niedecker Centenary Celebration organized by Woodland Pattern Literary Center in Milwaukee in October 2003. Thanks to Karl Gartung, Anne Kingsbury, Stacy Szymaszek, and the many others involved in organizing and hosting that extraordinary and generative event. Thanks to Amy Lutzke and Marilla Fuge of the Dwight Foster Public Library and Sue Hartwick of the Hoard Museum in Fort Atkinson, WisAcknowledgments x | Acknowledgments consin, for their generous support of Niedecker’s archive in general and of this book in particular. Additional thanks to the Dwight Foster Public Library for permission to print the photographs of Anna Ramsey’s wedding reproduced in Glenna Breslin’s essay. Thanks to Glenna Breslin for sharing her Niedecker collection, including the other photographs reprinted within her essay. Thanks to Nancy Kuhl, associate curator of the Yale Collection of American Literature at the Beinecke Library, for her invaluable advice and assistance. Thanks to Jonathan Williams and Thomas Meyer for permission to print the cover photograph. Thanks to Lori Shine and Andrew Joron for their assistance in preparing this manuscript for publication. Thanks to Peter Gizzi for the continuing conversation of which this work is a part. Finally, my ongoing gratitude to Jenny Penberthy, my comrade and co-conspirator in this project. Apart from her impeccable textual work on Niedecker and her instrumental role in the Centenary, her intellectual generosity, kind advice, support, assistance, and friendship have been crucial to the making of this volume from start to finish. ...