For Marjorie

Maggie O'Sullivan

November 8, 2012

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Marjorie Perloff

This Jacket2 feature is devoted to the life and work of Marjorie Perloff, whose critical inquiry over the course of more than three decades combines the pragmatism of lucid analysis with the sociohistorically informed commentary of distant reading to arrive at what Charles Bernstein calls “an inductive criticism grounded in a grappling with the poem at hand.” Jacket2 publisher Al Filreis brings together a number of different poets and critics for discussions of Perloff's critical legacy as well as reflections on the interpretive craft she has shaped for American poetics.

Preface

Al Filreis

J. Gordon Faylor

On the unoriginal genius of Marjorie Perloff Jerome McGann

Sound bytes and computer blips Dee Morris

On 'The Poetics of Indeterminacy' Joan Retallack

The contemporary of our grandchildren Richard Sieburth

For Marjorie Maggie O'Sullivan

Perloff and/in France Jan Baetens

Ways of reading: Marjorie Perloff and the sublimity of pragmatic criticism Charles Bernstein

Marjorie Perloff: Die Dichtung und das Ding (poetry and the thing) Vanessa Place

Four wheels and a broken glass Caroline Bergvall

'Radical Artifice' Johanna Drucker

'The Poetics of Indeterminacy: Rimbaud to Cage' Stephen Fredman

Becoming Marjorie Perloff Brian Reed

The unprepared future of an exophonic refugee Al Filreis

'The Futurist Moment' Jean-Michel Rabaté

Marjorie Perloff's twenty-first-century modernism Peter Nicholls

Close, very close Peter Middleton

Marjorie Perloff: A bibliographic essay J. Gordon Faylor

Futurism and schism Marjorie Perloff

By this author

'Writing is a body-intensive activity'

For Marjorie

EcoSomatics archive

Field notes from the 2020 EcoSomatics Symposium

Kanta Kochhar-Lindgren

Christina Vega-Westhoff

Syrus Marcus Ware

moira williams

Montage of shots from ‘Eco Monsters and Somatic Take-Overs,’ a small outdoor EcoSomatics symposium, Ypsilanti, Michigan, September 2021, shots from a workshop led by Marc Arthur, with symposium participants Charli Brissey, moira williams, Petra Kuppers, Cara Hagen, Stephanie K. Dunning, Stephanie Heit, Biba Bell, Christina Seers-Etters, and Kathy Westwater, all playing with monster addenda, crutch lightsabers, and relational objects.

An assemblage montaged by Petra Kuppers, with Syrus Marcus Ware, Naomi Ortiz, Stephanie Heit, Lori Landau, Carolyn Roy, Christina Vega-Westhoff, Michele Minnick, Denise Leto, moira williams, Catherine Fairfield, andrea haenggi and bull thistle leaf, DJ Lee, Megan Kaminski, Charli Brissey, Bronwyn Preece, Kanta Kochhar-Lindgren, Rania Lee Khalil, and Madeline Kerslake.

Introduction by Petra Kuppers

May 6, 2022

What war, huh?

Subjection in/as dissolution in Roger Santiváñez’s poetics, a translator’s note

Judah Rubin

Panel of winners of el Premio Libro de Poesía Breve, 2011. Image from Hipocampo Editores, via <a href=https://commons.wikimedia.org/wiki/File:Premio_de_Poes%C3%ADa_Breve_de_Hipocampo_Editores.jpg>Wikimedia Commons</a>. — Panel of winners of el Premio Libro de Poesía Breve, 2011. Image from Hipocampo Editores, via Wikimedia Commons.

By the time Roger Santiváñez published his chapbook Symbol, which is often thought of as marking a turn in his writing toward a neobaroque poetics post-1991, he had come to live in the United States, where he has resided since.

April 7, 2022