The Point Is to Change It: Poetry and Criticism in the Continuing Present

By Jerome McGann | Go to book overview

Index
Acker, Kathy, 97, 185, 218; Blood and Guts in High School, 90–91
Adam, Helen, 90
Adorno, Theodore, 144; Aesthetic Theory, 42
Aeschylus, 192, 208; Epigoni, 65
aesthetics of criticism, xii
Ahearn, Barry, 45, 47
“Albany” (Silliman), 62
Alphabet, The (Silliman), 50–53, 57, 58–64, 185; asks every reader to propose own readings, 50–51; “Demo” section, 58–60; as a model for way of succeeding in genre of longpoem, 47–48; order of initial publication, 46; “Oz,” 44, 55, 5657, 62; phenomenological unity, 48–49; poetry as a scene of “investigation,” 48; “processing rules,” 54–55, 62–63; question of the ordering of, 46–49; refusal to allow the privilege of authorial control, 61; Silliman’s claim that the project of “solves” the “problem” of the American longpoem, 51–52; vocabulary of word processing, 51; “voiced comma” between paired units of text, 58–60
Altman, Robert, 218
Alvarez, Alfred, 205
“ambiguity,” 140
American longpoem: The Alphabet (Silliman) as, 47–48, 51–52, 58; history of failures, 48
anacoluthon, 24, 86
Andrews, Bruce: didactic aims, 65; immediacy of work, 75; influence of Brecht upon, 71; instability of texts, 76; “medium of writing,” 77; and objectivism, 67; poetic action dependant upon the selfconscious re-action of the reader, 74; radical level of discourse, 74; resistance against Romantic form, 65–66; “the words absolutely are the poem,” 74, 75–76; ties to Stein, 71–72
Andrews, Bruce, works of: “Confidence Trick,” 66, 73; “Constitution / Writing, Politics, Language, the Body,” 76; Getting Ready to Have Been Frightened, 71, 76–79; I Don’t Have Any Paper So Shut Up (or, Social Romanticism), 75; “Isolate Your Fuse,” 74; “Paradise and Method,” 71; “Poetry as Explanation, Poetry as Praxis,” 68, 70, 71; “Vowels,” 71–72
angelism, 31, 32
Arendt, Hannah, xv
Arnold, Matthew, xiv, xvi, 86, 89, 96, 146, 193

-235-

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