As someone interested in mapping the stop-and-start iterations of experimental American poetry, I cannot help but situate the self-interrogations and cultural/political analyses of Jill Magi’s SPEECH in relation to Robert Grenier’s infamous provocation “I HATE SPEECH.”
As someone interested in mapping the stop-and-start iterations of experimental American poetry, I cannot help but situate the self-interrogations and cultural/political analyses of Jill Magi’s SPEECH in relation to Robert Grenier’s infamous provocation “I HATE SPEECH.”[1] Though sometimes cited as a rallying call for Language writing, the declaration’s context (e.g., the Berkeley Free Speech Movement) and afterlife (Grenier would go on to compose, among other things, drawing poems), however much a “breach,” as Ron Silliman called it, with the voice-centered p
