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New Time
The latest collection of poetry from one of the foremost American avant-garde poets.
Crowd and Not Evening Or Light
Poetry. " Leslie Scalapino is a stunningly original writer. Poised on an edge between space and claustrophobia, this poet bears stark witness to the broken narratives of thousands dead or off shore. CROUD AND NOT EVENING OR LIGHT scatters literary criticism, drama and the photographic index across a wilderness of everyday language like love"-Susan Howe.
Sight
Poetry. A collaborative effort by two of today's most famous poets. Equal parts poetry and philosophy, Lyn Hejinian and Leslie Scalapino's collaboration is organized around the act and idea of seeing, written in the form of a literary dialogue. We were interested in a joint investigation into the workings of experience, writes Hejinian in the introduction, how experience happens, what it consists of, how the experiencing (percieving, feeling, thinking) of it occurs, what the sensation of sensing tells us. Visual descriptions interact with meditations on contemporary life, Western intellectual history, dream, film, poetry, and collaboration itself. Scalapino: the sight is the/ reverse of the occurrence Hejinian: Sight is lyrical, because its subtext is annihilation.
How Phenomena Appear to Unfold
Literary Nonfiction. New and Expanded Edition. In 'Eco-logic in Writing, ' one of many brilliant essay-talks in this volume, Leslie Scalapino asks, 'Seeing the the moment of, or at the time of, writing, what difference does one's living make?' What more crucial question for those concered not only with writing but with poethics: composing words into a socially conscious wager. For Scalapino the essay is a poetic act; the poetic act, essay. It's in that combination that her textual eros--the lush beauty of it!--could reject aesthetic purity and risk the rawness of genuinely new thought, touching what she called 'the rim of occurring.' 'Writing on rim' is a celebration of the wondrous present,...
Hearing
"Hearing is the second in a series of collaborations by Lyn Hejinian and Leslie Scalapino organized around each of the five senses. Their first collaboration in this series, Sight, was published by Edge Books in 1999. Hejinian and Scalapino were nearing the completion of Hearing when Leslie Scalapino died in 2010. Ten years later, the book is published for the first time with a preface by Hejinian"--
That They Were at the Beach
Poetry. For this new collection of poems and prose, Leslie Scalapino has gathered four sequences into what she calls "an aeolotropic series." The poems reflect each other like crystals and change like highly polished glass illuminated by a shifting light. They follow the mind from thought and observation to afterthought, reflection, and obsession.
It’s Go in Horizontal
The poems embody ideas about writing and formal inventions, demonstrating how one invention leads to the next. -- Jacket flap.
The Animal is in the World Like Water in Water
Poetry. Art. Originally printed as an artist book by Granary Books in an edition of 40 in 2010. "THE ANIMAL IS IN THE WORLD LIKE WATER IN WATER is a collaboration of drawings by Kiki Smith and poetry by Leslie Scalapino (myself).... Kiki Smith sent me color xeroxes of a completed sequence, forty-three drawings, which she'd titled, 'Women Being Eaten by Animals.' I wrote the poem using the sense of an unalterable past occurrence: One female, apparently the same girl, is repeatedly, in very similar images as variations, bitten and clawed by a leopard-like, lion-like animal. Both person and animal have abstracted features, giving the impression of innocence or opaqueness. As in a dream of simil...
The Public World/Syntactically Impermanence
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." The Public World / Syntactically Impermanence is a brilliant consideration of the strategies of poetry, and the similarities between early Zen thought and some American avant-garde writings that counter the "language of determinateness," or conventions of perception. The theme of the essays is poetic language which critiques itself, recognizing its own conceptual formations of private and social, the form or syntax of the language being "syntactically impermanence." Whether writing reflexively on her own poetry or looking closely at the writing of her peers, Leslie Scalapino makes us aware of the split between commentary (discourse and interpretation) and interior experience. The "poetry" in the collection is both commentary and interior experience at once. She argues that poetry is perhaps most deeply political when it is an expression that is not recognized or readily comprehensible as discourse.
