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• ""Table of Contents ""; ""Polemical Preface ""; ""Acknowledgments""; ""Introduction: Etymologies, 1980â€?the Allegorical Moment""; ""1. Entomologies: Louis Zukofsky and Lorine Niedecker""; ""2. Epistemologies: Clark Coolidge""; ""3. A=L=L=E=G=O=R=I=E=S: Peter Inman, Myung Mi Kim, Lyn Hejinian""; ""4. Semiologies: Susan Howe ""; ""5. Fictocritical Postlude: The Melancholy of Conceptualism""; ""Notes""; ""Works Cited""; ""Index""

The shape, lineation, and prosody of postmodern poems are extravagantly inventive, imbuing their form with as much meaning as their content. Through a survey of American poetry and poetics from the end of World War II to the present, Michael Golston traces the proliferation of these experiments to a growing fascination with allegory in philosophy, linguistics, critical theory, and aesthetics, introducing new strategies for reading American poetry while embedding its formal innovations within the history of intellectual thought. Beginning with Walter Benjamin's explicit understanding of Surrea.

• Polemical PrefaceAcknowledgmentsIntroduction: Etymologies, 1980--the Allegorical Moment1. Entomologies: Louis Zukofsky and Lorine Niedecker2. Epistemologies: Clark Coolidge3. A=L=L=E=G=O=R=I=E=S: Peter Inman, Myung Mi Kim, Lyn Hejinian4. Semiologies: Susan Howe5. Fictocritical Postlude: The Melancholy of ConceptualismNotesWorks CitedIndex.
• (source: Nielsen Book Data)

The shape, lineation, and prosody of postmodern poems are extravagantly inventive, imbuing both form and content with meaning. Through a survey of American poetry and poetics from the end of World War II to the present, Michael Golston traces the proliferation of these experiments to a growing fascination with allegory in philosophy, linguistics, critical theory, and aesthetics, introducing new strategies for reading American poetry while embedding its formal innovations within the history of intellectual thought. Beginning with Walter Benjamin's explicit understanding of Surrealism as an allegorical art, Golston defines a distinct engagement with allegory among philosophers, theorists, and critics from 1950 to today. Reading Fredric Jameson, Angus Fletcher, Roland Barthes, and Craig Owens, and working with the semiotics of Charles Sanders Pierce, Golston develops a theory of allegory he then applies to the poems of Louis Zukofsky and Lorine Niedecker, who, he argues, wrote in response to the Surrealists; the poems of John Ashbery and Clark Coolidge, who incorporated formal aspects of filmmaking and photography into their work; the groundbreaking configurations of P. Inman, Lyn Hejinian, Myung Mi Kim, and the Language poets; Susan Howe's "Pierce-Arrow, " which he submits to semiotic analysis; and the innovations of Craig Dworkin and the conceptualists. Revitalizing what many consider to be a staid rhetorical trope, Golston positions allegory as a creative catalyst behind American poetry's postwar avant-garde achievements.
(source: Nielsen Book Data)

Bruce Andrews and Charles Bernstein released the first issue of the poetics newsletter L=A=N=G=U=A=G=E in 1978, launching language-centered writing. The Language Letters reveals Language poetry in its nascent stage, with letters written by Andrews, Bernstein, Ron Silliman, and others in intense and intimate conversation regarding poetry and poetics; the contemporary poetry and arts scenes; publication venues, journals, and magazines; and issues of community, camaraderie, and friendship. The editors have included two critical introductions, two interviews with Bernstein and Andrews, and appendices that include a previously unpublished essay on Larry Eigner by Robert Grenier and short biographies of the major authors. Written between 1970 and 1978, these letters detail the development of the concepts and styles that came to define one of the most influential movements in post-1960s writing. Scholars, writers, and students of poetry will find this collection essential to understanding this important period of literary history.
(source: Nielsen Book Data)

Bruce Andrews and Charles Bernstein's L=A=N=G=U=A=G=E: The Complete Facsimile makes available in print all twelve of the newsletter's original issues along with three supplementary issues.

• "The replacement of ourself with ourselves": the making of LEGEND as a five-pointed star / Matthew Hofer and Michael Golston
• LEGEND / Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman
• Appendix one. re: re: legend
• A new five-way collaboration / by Bruce Andrews, Charles Bernstein, Ray DiPalma,Steve McCaffery, and Ron Silliman
• Appendix two. excerpts from the authors correspondence.

"Conceived in 1976 and published in 1980, LEGEND exemplifies the political and linguistic commitments of then-nascent Language writing. Coauthored by Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman, the work was composed on typewriters and developed through the mail. The twenty-six poems of the volume bring together every possible permutation of collaborative authorship in one-, two-, three-, and five-author combinations, revealing the evolution of distinctive styles against and in conversation with others. Along with a complete reproduction of the original text, LEGEND: The Complete Facsimile in Context includes a critical introduction by editors Matthew Hofer and Michael Golston, a generous selection of material from the authors' correspondence, and a new collaborative piece by the authors. This book will be an essential resource to students and scholars in twentieth-century poetry and poetics"-- Provided by publisher.