Gloss on Sublime Frequencies’ Ethnopsychedelic Montages
Lori Emerson
February 28, 2007
P:nth-child(6)
Rob Wittig posits the origin of hip hop (and, incidentally, the invention of love), in the age of the troubadours (12th century France). Rob Wittig posits the origin of hip hop (and, incidentally, the invention of love), in the age of the troubadours (12th century France).
Gloss on Robert Creeley’s Radical Poetics
Lori Emerson
February 25, 2007
P:nth-child(6)
David Zauhar’s essay “Perloff in the Nineties” reviews, among her other works, Wittgenstein’s Ladder – a work which he claims is at least partly about how certain novelists and poets undertake projects that Wittgenstein himself appropriated for philosophy. David Zauhar’s essay “Perloff in the Nineties” reviews, among her other works, Wittgenstein’s Ladder – a work which he claims is at least partly about how certain novelists and poets undertake projects that Wittgenstein himself appropriated for philosophy.
Gloss on Soft Links of Innovative Narrative in North America
Lori Emerson
February 25, 2007
P:nth-child(1)
ebr contributors Diane Goodman and Elisa Sheffield write of the postfeminist fiction anthology Chick-Lit – an anthology which also aims, as Neigh writes, to disrupt normative definitions of narrative. ebr contributors Diane Goodman and Elisa Sheffield write of the postfeminist fiction anthology Chick-Lit – an anthology which also aims, as Neigh writes, to disrupt normative definitions of narrative.
Gloss on Three from The Gig: New Work By/About Maggie O’Sullivan, Allan Fisher, and Tom Raworth
Lori Emerson
February 25, 2007
P:nth-child(14)
In her recent essay “Robert Creeley’s Radical Poetics,” Marjorie Perloff similarly explores the unsettling and so threatening language of Robert Creeley, with whom Raworth has long been associated.
Gloss on Three from The Gig: New Work By/About Maggie O’Sullivan, Allan Fisher, and Tom Raworth
Lori Emerson
February 25, 2007
P:nth-child(1)
John Matthias’ review of five different British poetry anthologies (“British Poetry at Y2K”) provides a larger context for the work of O’Sullivan, Raworth, and Fisher.
Gloss on Speed the Movie or Speed the Brand Name or Aren’t You the Kind that Tells: My Sentimental Journey through Future Shock and Present Static Electricity. Version 19.84
Lori Emerson
February 25, 2007
P:nth-child(2)
Bernstein’s “Electronic Pies in the Poetry Skies” is a companion piece of sorts – exploring instead the freedoms|restrictions inherent to the space of the internet.
Gloss on Speed the Movie or Speed the Brand Name or Aren’t You the Kind that Tells: My Sentimental Journey through Future Shock and Present Static Electricity. Version 19.84
October 21, 2007
P:nth-child(22)
A small publisher himself, Ted Pelton reinforces Bernstein’s argument for the necessity of noncommerical literary publishing in his report on &Now, A Festival of Innovative Writing and Art. A small publisher himself, Ted Pelton reinforces Bernstein’s argument for the necessity of noncommerical literary publishing in his report on &Now, A Festival of Innovative Writing and Art.
Gloss on Robert Creeley’s Radical Poetics
Lori Emerson
February 25, 2007
P:nth-child(45)
In his essay “An Inside and an Outside” on Creeley’s final publications Life & Death and If I Were Writing This, Douglas Manson also points to Creeley’s beguilingly precise writing. In his essay “An Inside and an Outside” on Creeley’s final publications Life & Death and If I Were Writing This, Douglas Manson also points to Creeley’s beguilingly precise writing.
Gloss on Robert Creeley’s Radical Poetics
Lori Emerson
February 25, 2007
P:nth-child(35)
Ted Pelton reflects on another Creeley keyword, “dig,” in his 2005 essay on In Company, a collection of image/text collaborations. Ted Pelton reflects on another Creeley keyword, “dig,” in his 2005 essay on In Company, a collection of image/text collaborations.
Gloss on Dub, Scratch, and the Black Star. Lee Perry on the Mix
Joseph Tabbi
January 23, 2007
P:nth-child(33)
It was McKenzie Wark, who brought the dub transformation into cultural criticism (if not the cultural mainstream). As Wark wrote, with numerous variations, in Virtual Geographies (1994): “We no longer have roots, we have aerials..” It was McKenzie Wark, who brought the dub transformation into cultural criticism (if not the cultural mainstream). As Wark wrote, with numerous variations, in Virtual Geographies (1994): “We no longer have roots, we have aerials..”