A career-spanning multi-genre compendium of work by and about poet Lyn Hejinian, one of today's most celebrated and influential avant-gardists. Through a variety of approaches —philosophical, scholarly, and experimental—Aerial 10 documents and explores her forty-plus years of poetic and theoretical writings. Its 464 pages include poetry, essays, interviews, collaborations, and letters by Hejinian, as well as essays, poetry, and memoir by contemporary poets and critics.
Contemporary so-called “innovative” or “experimental” poetry’s fascination and engagement with the theoretical and the critical owes a lot to the Language poets, who, though not the first to approach the composition of poetry as an intellectual enterprise, did offer what Marjorie Perloff characterizes as a “rapprochement between poetry and theory” that could serve as an alternative to the increasingly anti-intellectual creative writing classroom of the 1970s.
Pearl Pirie has been one of the most active and engaged poets in Ottawa for at least a decade, from her enormous productivity as a writer, performer, reviewer, blogger, editor, radio host, workshop facilitator, food columnist and small press publisher, to irregularly hosting salon workshops and readings in the house she shares with her partner of twenty-three years, the designer Brian Pirie. Through her growing handful of books and chapbooks, what appeals about Pirie’s work is the way in which sound, mashed words and an unhindered sequence of meanings manage to propel across the page.
From cultural narratives to religion to comic-book characters to conceptions of self, origin stories often serve to explain belief systems and histories within the context of a defined beginning, middle, and end. Origin stories are narrative devices steeped in limitations of both form and content.
To mark the occasion of the digital reissue of Big Allis, editors Neilson and Grim have written the following introductory notes alongside commissioned reflections on the magazine by designer Jean Foos and a few of the magazine’s many contributors.
The idea of bringing Big Allis to a new readership occurred to me one summer afternoon last year while combing the Jacket2 Reissues archive. I am grateful to Danny Snelson for deeming Big Allis worthwhile to “go big” and be added to the J2 bill. Danny and Amelia Bentley have been artful and meticulous with getting Big Allis safely stored in a user-friendly repository.
Lyn Hejinan writes in The Book of A Thousand Eyes:
“The bed is made of sentences which present themselves as what they are Some soft, some hardly logical, some broken off Sentences granting freedom to memories and sights” 
If a bed is made of sentences, then we take rest, converse with the unconscious, locate freedom, the intimate, night, dark, gestational silence, the forming of images and ideas — all within what can be built from an assortment of varied sentences. Sentences become our increment, lumber, and leisure.
Lisa Robertson writes in her recent book, Nilling, “The most temporary membranes serve as shelter.”
What is it about the sentence that encourages one to stretch out?
I had already started writing my first commentary for Jacket2. But then I had to begin again.
Earlier today I learnt of the passing of a great poet and a friend: Arkadii Dragomoshchenko.
I discovered on the weekend that Arkadii was seriously unwell. As a result, I dedicated the launch party for my book A Common Strangeness that we held in Dunedin, New Zealand, on Monday to him. As part of the launch, the New Zealand poet Cilla McQueen read the first part of his long poem “A Nasturtium as Reality” alongside her own poem “Photon.” It was just the latest in a long line of cross-cultural encounters generated by Arkadii’s work.
Nothing can quite prepare readers for The Book of a Thousand Eyes, just out from Omnidawn. This is Hejinian’s largest scale book – yet it reflects the kind of intimacy – and affective and affecting charm – I associate with all her work. One key frame of the book is dreams – and there are many poems that have the quality of dreams – whether made-up or created in sleep – whose to say the difference? – Hejinian seems to say over and again. She also alludes to the Arabian Nights, as she has done before – tales that lead to more tales without closure. There is a great range of thinking in these poems; many topics are taken up, poetics figures significantly. The book is as much a primer in the possibilities of the imagination as an enactment of the imagination. Nonetheless, the poems are tightly formed, impeccably constructed, with a tonal precision and continuity that remains one of Hejinian’s hallmarks. I will be reading this book for years to come.
August 11, 1978. On the radio program, "In the American Tree: New Writing by Poets," Lyn Hejinian and Kit Robinson are our hosts, and the guest is Ted Berrigan. A PennSound recording of the show is available, and here--thanks to the work of Michael Nardone--is part of the transcription:
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HEJINIAN: We’re going to continue on now with our guest Ted Berrigan. This is "In the American Tree: New Writing by Poets."
Ted, you have a sequence of poems?
BERRIGAN: Yeah, I’ll read three poems from a book, which I just completed, I completed it three or four months ago, it’s called Easter Monday, and it’s fifty poems. And they’re all, most of them are close to the same size, which is about, well, my favorite size, which is about 14 lines. Well, they are sonnets, in fact, but they don’t really work at that too much. Not all of them are. Some are longer. None are shorter, but some are quite long, quite a bit longer, because they just got longer sometimes, and when they did I just let them be longer.
These fifty poems are, fifty was an arbitrary number I decided upon ahead of time based on a theory that if you do two or three works that are fairly similar, and that you liked them, even if you just do one, you do one work and you like it and do another one that’s similar to it, there’s no particular reason to do the next one, a second one, and there’s no particular reason not to do it. But if you feel you have a number then there, you can set yourself this arbitrary number and just decide, well, I’ll do fifty of these. Then you’re sort of clear as to what you’ll be doing for a while. I got this idea from a painter friend of mine.
So, I did fifty of these, and it took me a lot longer than I thought it would. I said that I would do fifty. It’s called Easter Monday because it’s really about second life, life beginning about the age of 40. And since it is personal, I mean it is the second half of one’s life, it’s about being young, a young older person. I was involved in a second marriage, second family, but even if I hadn’t been, it still could have been the same thing.
Consequently, it is like Easter Monday. Easter Friday you die. Easter Sunday you rise again from the dead and that’s really glorious and wonderful, but then Easter Monday you have to get this job and support yourself for the rest of your life.
The poems were all written in two or three or four years from the time I was 38 until last year when I was 42. So they are not all about one’s whole second life, but rather about being aware of coming into that.
When I say they are about something, I mean, I strictly mean “about”. I don’t know what each poem is about particularly. I could study them and tell you what each one is about, but that’s not what I’m willing to do.
Each poem is a very separate poem. They are not like my work The Sonnets where, although every poem can stand on its own, they were sequential and serial in a certain way. There is some repetition of things, but it’s really like fifty separate works which were done knowing I was going to do fifty, and therefore they relate that way. Now, I knew what the themes were, though I didn’t work at them too hard. I just knew what they were.
This is the first three. The first one is called “Chicago Morning.” It’s dedicated to the painter Phil Gustin simply because I was looking at a painting of his while I was writing because it was hanging on the wall over the typewriter, and so I actually used some things in his painting to refer to when I couldn’t think of anything else to say.
Above is Lyn Hejinian's typescript of an untitled poem we've taken to calling "constant change figures."
It is one poem in a series Hejinian has been writing, a project she currently calls The Book of a Thousand Eyes. If it is finished (perhaps, she tells us, in the summer of 2009?), it might consist of 1,000 poems; more likely of 310 or a few more of them (the number she had completed at the time this episode was recorded). Some poems in the series appeared in The Little Book of a Thousand Eyes, published by Smoke-Proof Press--although, please note, our poem, "constant change figures," does not appear in that gathering. When Hejinian visited the Writers House a few years ago, she read 19 of these gorgeous little eyes, including ours. And it's the audio recording made during that reading that we use in our show.
To what extent does our notion of nature's picture--a picture of the many things we name "out there--surprass the things we already know? We seem to deem memory nature's picture. So to what extent is experience the result of our living in time, a state producing senses that are familiar and yet move us forward toward new and different effects?
So, truly, constant change figures the time we sense. "Figures" there--a transitive verb at that point--enacts things: change makes things, shapes them, renders them, gets things just so.
As you can tell from the recording, we were astonished that these words could accomplish all that thinking about words? Can you imagine writing a poem of nine triads, 27 lines in all, each line this carefully rendered--a poem that in all uses far fewer unique words than the total number of words in the poem, far fewer than conventional utterances would need to employ. Fewer, let's say, than required by the language of philosophy telling of the same phenomena.
During our lively Hejinian PoemTalk, Tom Mandel in particular works out for us the way the shifting yet repeating triads are enacted. Bob Perelman focuses on Steinian memory (forgetting something himself along the way), Thomas Devaney on the power of turned-every-which-way phrasal variations, Al Filreis on the Steinian mode (again) and the poem as a possible critique of the ideology of experience.
We agree that from the time of her great Stein talks* and of Writing Is an Aid to Memory Lyn Hejinian has conceived of writing itself, an act that is at once a matter of forgetting and remembering, as a definition (or an "aid" to the redefinition) of the past.
Is this poem itself--its very manner and form--an instance of what Hejinian famously observed in My Life - "the disquieting runs of life slipping by"? Yes. The four PoemTalkers seemed to agree on that at least. As Bob Perelman notes, the poem itself seems to slip by one. Succinct as it is, one can't seem to hold it all in one's mind at once.
* Click here for a PennSound recording of Hejinian talking about and reading her own writings through Gertrude Stein.