Lyn Hejinian and Barrett Watten are across the world well-known 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 main conversations and debates from the magazine, and invitations readers to extend at the serious and inventive engagements they represent.
In making their decisions for the advisor, the editors have sought to exhibit various leading edge poetics and to point the variety of fields and actions with which they may be engaged. The advent and headnotes by way of the editors offer historic and thematic context for the articles.
The advisor is meant to be of sustained inventive and school 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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Additional info for A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998
Gesammelte Werke infunfBande. Frank furt a. M. Suhrkamp Verlag. Celan, P. (1986). Collected Prose. Translated by Rosmarie Waldrop. Manchester, Carcanet Press. * 49 Bollack, J. (1987). “ Pour Une Lecture de Paul C elan ” Lignes. (1): 147-161. Buhr, G. (1988). ” CelanJahrbuch (2): 169-208. -G. (1985). Philosophical Apprenticeships. Translated by Robert R. Sullivan. ,The m i t Press. Glenn, J. (1973). Paul Celan. New York, Twayne Publish ers, Inc. Hamacher, W. (1985). ” Yale French Studies. (69): 27 6 -3 14 .
Mother Rachel weeps no more. Carried over: all the weepings. Quiet, in the coronary arteries, unconstricted: Ziv, that light. ” In a brilliant essay, Werner Hamacher discusses the move ment o f the figure o f inversion as central to the poetics o f late C e lan , u sin g a po em from Sprachgitter, “ Stimmen,” and concentrating on the line “ sirrt die Sekunde” [the second buzzes] which he de- and re-con structs as “diese Kunde” [this message, this conduit o f information]. In a footnote, he includes a brief analysis o f “ Line the word-caves,” which I will cite and let stand as conclusion to my own analysis, if only to show how the poly-perspectivity o f a Celan poem permits multiple approaches, all o f which help to shed light on the wordcaves these late poems are.
The very idea o f trying to meet Celan seemed completely out o f the realm o f possibility at that time, despite the fact that we lived in the same city. Even if I had been less shy and awkward and had attempted to meet him, it would probably not have happened or only as disaster, given my own igno rance o f poetry and the world, and Paul Celans inten sity during those last years o f his life— an intensity that, I believe, wouldn’t have suffered young fools gladly. There is a further reason: by 19 6 71 had been writing poetry in English for a mere three years, was thus very tentative and explorative in that language, and had just decided to move to the us, leaving behind a Europe I did not want to have any truck with anymore.
A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998