Leslie Scalapino - The public world syntactically impermanence
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A new collection of essays and poetry from the poet Library Journal called one of the most unique and powerful writers at the forefront of American literature.
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As: Nagarjuna's* "destruction of all philosophical views"obviously this would include all modes of articulation, and any definitions or procedures of "discourse."
Page iii
The Public World/Syntactically Impermanence
Leslie Scalapino
Page iv
Wesleyan University Press Published by University Press of New England, Hanover, NH 03755 1999 by Leslie Scalapino All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book
The author wishes to thank Tom White for his helpful reading of this text in manuscript.
A version of "The Cannon" was published in the American Poetry Review (Spring, 1998). "Experience/'On' Sight" is Leslie Scalapino's part of an introduction to SIGHT, a collaboration by Lyn Hejinian and Leslie Scalapino, published by Edge Books. A version of "'Thinking Serially' in For Love, Words, and Pieces'' was published in Objects in the Terrifying Tense/Longing from Taking Place, Leslie Scalapino (New York: Roof Books, 1993); and Disembodied Poetics: Annals of the Jack Kerouac School, edited by Anne Waldman and Andrew Schelling (Albuquerque: University of New Mexico Press, 1994). A version of "Footnoting" was published in SHARK. Passages from "The Radical Nature of Experience" on Philip Whalen appear in Leslie Scalapino's introduction to Philip Whalen's Overtime: The Selected Poems, edited by Michael Rothenberg (New York: Viking Penguin, 1999). A passage from "Silence and Sound/Text" appeared in Boundary.
A version of The Weatherman Turns Himself In was published by Zasterle Press, Canary Islands, Spain, 1995.
Passages from As: All Occurrence in Structure, Unseen(Deer Night) were published in Chain, Explosive Magazine, Boundary, and Fishdrum.
Page v
CONTENTS
Demonstration/Commentary
The Radical Nature of Experience
3
The Cannon
15
Silence and Sound/Text
29
Footnoting
34
Thin-Space
38
Experience/'On' Sight
41
'Thinking Serially' in For Love, Words, and Pieces
44
The Recovery of the Public World
53
As: All Occurrence in Structure, Unseen
The Weatherman Turns Himself In
65
As: All Occurrence in Structure, Unseen(Deer Night)
88
Friendship
134
Page vi
I could stay at home and I'd go out. There'd be a group of people in one setting or another who knew each other but gradually I began to feel withdrawn from them anyway. It was easier to remember what had been said and I'd feel satisfied after going somewhere. Other people seemed completely internal which I noticed when I'd observed a man for some time and saw that he'd say something about himself and I thought that he should be that entirely and that other people don't go into a sort of public world. I wanted to be wholly transparent so that I would tell people details of my activities whether I was casual or angry.
I feel that the people I see are all rightin the sense of not getting very oldas I get out of the area where there are shops, a few houses. I don't see them walk or move a great deal; and they wear good clothes or everyday clothes. At the time a man doing construction work in the street comes in that slow delayed way; he is in a sort of public world, working for awhile. Then not working for periods of time possibly. From Considering how exaggerated music is Leslie Scalapino (North Point Press, 1982)
Page 1
DEMONSTRATION/COMMENTARY
Page 3
The Radical Nature of Experience
Activity is the only community. The conservative gesture, always a constant (any ordering, institutional and societal) is to view both activity and time per se as a condition of tradition. As such, both time and activity are a "lost mass" at any time. "For just as modern man has been deprived of his biography, his experience has likewise been expropriated."1
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