In the American Tree: Language, Realism, Poetry

Front Cover
Ronald Silliman
National Poetry Foundation, Feb 1, 2002 - Poetry - 611 pages
2 Reviews
This anthology offers the most substantial collection of work by the Language Poets now available, along with 130 pages of theoretic statements by the poets represented. As such, it does for a new generation of American poets what Don Allen's New American Poetry did for an earlier generation. Poets represented include Bruce Andrews, Charles Bernstein, Clark Coolidge, Michael Davidson, Ray DiPalma, Robert Grenier, Lynn Hejinian, Fanny Howe, Susan Howe, Bernadette Mayer, Michael Palmer, Bob Perelman, Barrett Watten, and Hannah Weiner. "This historic anthology brings into long needed focus the only serious and concerted movement in American literature of the past two decades. It will be indispensable". -- Peter Schjeldahl

From inside the book

What people are saying - Write a review

Review: In the American Tree

User Review  - TQ-tip Shandy - Goodreads

A collection of the best word/language poets. Gets better with every reading. Read full review

Review: In the American Tree

User Review  - Paul Belbusti - Goodreads

Excellent collection of "Language Poetry," a term that becomes increasingly meaningless as you notice these writers have little in common with each other. Read full review

Contents

ROBERT GRENIER
5
BARRETT WATTEN
27
LYN HEJINIAN
50
Copyright

24 other sections not shown

Common terms and phrases

About the author (2002)

THE GRAND PIANO is an experiment in collective autobiography by ten writers identified with the rise of Language poetry in San Francisco--Rae Armantrout, Steve Benson, Carla Harryman, Lyn Hejinian, Tom Mandel, Ted Pearson, Bob Perelman, Kit Robinson, Ron Silliman, and Barrett Watten. The eleventh pianist, Alan Bernheimer, takes the lead in organizing documentation for the books. THE GRAND PIANO takes its name from a coffeehouse at 1607 Haight Street in San Francisco where from 1976 to 1979 several of writers programmed and coordinated--and all of them participated in a weekly reading and performance series. The project focuses on the 1970s when they first met and collaborated. Yet the volumes engage issues beyond that time, and the project adheres to no prescribed set of themes.

Bibliographic information