Poetry. "Craig Dworkin produces a poetry rich and strange, a counterpart of French Oulipo but with a characteristically American pragmatic inflection. Dworkin takes seriously Wittgenstein's axiom that
Poetry. "Craig Dworkin's MOTES is an unexpected delight of sparse poems that glitter, provoke, and beg for completeness. These pieces show Dworkin's impressive range as he travels seamlessly into the
Poetry. Environmental Studies. Following the traces of the trail blazed by Francis Ponge in Le Carnet du bois de pins (1947), THE PINE-WOODS NOTEBOOK offers a simultaneous study of two environments. I
Dworkin (English, Princeton U.) explains how to comprehend modern poets, in various media, who go to great lengths to make themselves incomprehensible. The CiP claims the study was his 1998 doctoral d
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothi
In "No Medium," Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but not
Literary Nonfiction. Criticism & Theory. Poetics.Dworkin has edited a collection of amazing new essays on poetics, summarizing the variety of poetries that have arisen in innovative writing during
Poetry. PARSE is a translation of Edwin A. Abbott's How To Parse: An Attempt to Apply the Principles of Scholarship to English Grammar. First published in 1874, the book played a leading role in the p
Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published p
Charles Bernstein has described conceptual "poetry pregnant with thought." Against Expression, the premier anthology of conceptual writing, presents work that is by turns thoughtful, funny, provocati
Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkin break tha
Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkin break tha
