Just out! La conversation transatlantique. Les échanges franco-américains en poésie depuis 1968, by Abigail Lang, Dijon, Les presses du réel, coll. L’écart absolu – Fondamentaux, 2021. 336 p. 26.00 € EAN : 9782378961787
Le sommaire, l’introduction et une recension en anglais sont disponibles sur le site de l’éditeur.
The fertile exchanges between French and American poetry since 1968.
The dialogue between French and American poetry dates back to the nineteenth century. But if Americans in search of modernity turned immediately to France, the trend was reversed from the 1970s onwards, with French poets now looking to the United States at a time when modernity was running out of steam. This study accounts for this phenomenon by uncovering the issues that preoccupied French and American poetry and motivated their exchanges. To do so, it asks the following questions.
Why have the objectivist poets (Reznikoff, Zukofsky, Oppen…) benefited in France from a reception that has been constantly renewed for fifty years? Why did so many French and American poets of the same generation read, quote and translate each other in the 1980s, to the point of establishing a transatlantic community?
How, after 1968, was one to “dissolve poetic solemnity” and adapt American “low voltage” into the language of Racine? How was one to say poetry out loud? How did the poetry reading become institutionalized in France? Is “being up on your feet and talking” still poetry?
At a time when poetry in France was experiencing a sense of impasse and taking stock of modernity, the transatlantic conversation provided a forum for it to redefine its forms and function. Among those heard were Ashbery, Roche, Roubaud, Royet-Journoud, Albiach, Hocquard, di Manno, Gleize, Leibovici, the Waldrop, Auster, Duncan, Palmer, Bernstein, Hejinian, Watten, Doris, Fourcade, Creeley, Rothenberg, Antin, Heidsieck, Cadiot, Alferi.
Le dialogue entre la poésie française et la poésie américaine remonte au XIXe siècle. Mais si les Américains en quête de modernité se sont d’emblée tournés vers la France, le courant s’est inversé à partir des années 1970, les poètes français regardant désormais vers les États-Unis au moment où la modernité s’essoufflait. Cette étude rend compte de ce phénomène en mettant au jour les enjeux qui ont préoccupé les poésies française et américaine et motivé leurs échanges. Pour y parvenir, elle pose les questions suivantes.
Pourquoi les poètes objectivistes (Reznikoff, Zukofsky, Oppen…) ont-ils bénéficié en France d’une réception sans cesse recommencée depuis cinquante ans ?
Pourquoi tant de poètes français et américains de la même génération se sont-ils lus, cités et entre-traduits dans les années 1980, au point d’établir une communauté transatlantique ?
Comment, après 1968, « dissoudre la solennité poétique » et adapter le « bas voltage » américain dans la langue de Racine ? Comment dire la poésie ? Comment la lecture publique s’institutionnalise-t-elle en France ? « Être debout et parler », est-ce encore de la poésie ?
Au moment où la poésie en France éprouvait un sentiment d’impasse et entreprenait un bilan de la modernité, la conversation transatlantique lui aura offert un forum pour redéfinir ses formes et sa fonction. S’y sont notamment fait entendre Ashbery, Roche, Roubaud, Royet-Journoud, Albiach, Hocquard di Manno, Gleize, Leibovici, les Waldrop, Auster, Duncan, Palmer, Bernstein, Hejinian Watten, Doris, Fourcade, Creeley, Rothenberg, Antin, Heidsieck, Cadiot, Alferi.
Double Change est heureux de vous annoncer la parution d’une anthologie bilingue de “nouvelle poésie des Etats-Unis” que nous avons sélectionnée et traduite pour la revue NIOQUES. Cette sélection de 15 écrivain.e.s est la première d’une série d’anthologies sur les configurations et reconfigurations en cours de la poésie états-unienne dans sa production la plus radicale. Tous les textes sont publiés en traduction et en version originale précédés parfois de textes de position. (voir sommaire et commandes ci-dessous)
“Comment la poésie états-unienne se constitue-t-elle actuellement ? Ce dont on parle est-il encore de la poésie, le terme a-t-il encore un sens ? Si pour le lecteur averti, la poésie des années 1960, 1970, 1980 n’est pas inconnue tant les traductions, les séries de lecture et les publications diverses ont permis de cartographier les grands mouvements structurants du champ poétique à la suite du modernisme et des avant-gardes radicales, et de faire connaître jusqu’aux auteurs qui ne se reconnaissent pas dans ces mouvements, la situation actuelle est plus difficile à entrevoir depuis l’étranger. Le sentiment est celui d’un éclatement dans une diversité de pratiques et d’auteurs individuels. Or, d’une part ce constat reflète l’impression que donne inévitablement le contemporain – le même sentiment apparaît dans l’art – d’autre part, cette impression est un effet rétrospectif de la sensation, souvent illusoire, que le lecteur sait cartographier l’histoire des mouvements qui précèdent, alors qu’ils ont souvent une forme et une unité bien plus instables que ne peut le décrire l’histoire littéraire. Des contre-généalogies sont toujours à proposer.” (extrait de l’introduction au numéro).
SOMMAIRE
Introduction – Nouvelles écritures des États-Unis
d’Amérique (collectif Double Change)
David Buuck – Le dehors insurrectionnel (trad. Abigail Lang)
Youmna Chlala – La caméra de papier (trad. Abigail Lang)
Lindsay Choi – Transverse (trad. Abigail Lang)
Mónica De la Torre – Équivalences (trad. Vincent Broqua)
❃ The inaugural meeting of the Network for New York School Studies (NNYSS) will be held on Wednesday 23 June 2021 at Université Gustave Eiffel. More information HERE.
❃ The Alice Notley Poets & Critics Symposium will be held on Thursday 24 and Friday 25 June 2021 at Université Gustave Eiffel. More information to follow in due course.
❃ The North American Poetry 2000-2020 Conference will be held from Thursday 14 to Saturday 16 October 2021 at Institut Universitaire de France, Paris. CALL FOR PAPERS HERE.
Paris 2021: What We Talk About When We Talk About The New York School
The inaugural meeting of the Network for New York School Studies (NNYSS) will be held on Wednesday 23 June 2021 at Université Gustave Eiffel.
The Alice Notley Poets & Critics Symposium will be held on Thursday 24 and Friday 25 June 2021 at Université Gustave Eiffel.
What We Talk About When We Talk About The New York School
The inaugural event of the Network for New York School Studies will feature short papers addressing a variety of aspects of New York School poetry, art, and writing. This event builds on the research network scholars and poets began to form during the illuminating New Work on the New York School symposium and poetry evening held at the University of Birmingham in 2018. We hope it will be the second international meeting of many. We have plans for follow-up events in New York and London in the coming years: watch this space…
Talks, close-readings, interdisciplinary discussions, presentations of archival work, joint presentations, work-in-progress, artistic responses, and other conventional or unconventional responses to the New York School, broadly conceived, will explore the place of New York School poetry, both in its emergent moment, and since:
how did New York School poetry and art define itself in its moment?
what has it come to mean?
who are its artists and poets?
what “schools” or movements has it influenced?
how did / does it sit within broader New York / American / global writing and culture (including film, music, and art)?
what can be said of 3rd and 4th generation New York School writing?
what do we talk about, now, when we talk about the New York School?
Talks are expected to be 5-10 minutes in length. Like last time, the event will be informal, inclusive, conversational, interdisciplinary, and intersectional. It will conclude with a poetry reading in the evening (poets TBC).
This event is organized by Rona Cran (University of Birmingham) and Yasmine Shamma (University of Reading) and hosted by Olivier Brossard (Université Gustave Eiffel.)
“North American Poetry 2000-2020/1: Poetics, Aesthetics, Politics.” 14-16 October 2021, Institut Universitaire de France, Paris.
Organized by Vincent Broqua (Université Paris 8), Olivier Brossard (Université Gustave Eiffel / Institut Universitaire de France), Abigail Lang (Université de Paris).
This is the closing conference of a 5-year research
program on the history of US poetry and poetics, in relation with the Poets and Critics program in Paris.
What has been
happening on the US poetry scene over the past twenty years? According to what
criteria and principles can the field of US poetry be read today? In the 1960s,
70s, and 80s, the scene was structured and defined by poetic, aesthetic, and
political tensions: is this still the case today? Or should it be approached
differently, by inventing new categories? How is poetry as a genre defined
today, and particularly in relation to other genres, and other forms of art?
How have the internet and digitization changed the production and distribution
of poetry? Who or what authorities legitimize poetry? What relationships do
poets develop with institutions? With academia? How is poetry taught? How does
poetry redefine the uses of language? How does it incorporate languages other
than English? How important is translation in North American poetry today? What
privileged connections are being established between the poetry of the United
States and the poetries of other countries, especially its North American neighbors
(whether the Caribbean, Central America, or Canada)? Are the local and regional
poetry scenes as active as in the 1960s? Or do poets tend to associate on a
larger scale based on professed identities? How do gender, race, and class call
for and enact redefinitions of the poetic spectrum? What are the sociological
specificities of North American poetry today? What are the preferred forms for
poetics and the critique of poetry? What forms does formal exploration assume?
The ambition of
this conference is to explore the field of contemporary poetry in North America
over the past twenty years and to identify the relevant notions and concepts
that will allow us to map its current configurations. We invite papers which
focus on English-language poetry as well as bilingual or multilingual works
including English as one of their languages. We welcome submissions that
question and recontextualize the term “North American.” We are particularly
interested in groups, poets, and works that stem from the modernist and
experimental traditions even as they may question and overturn this legacy. We
also invite submissions focusing on poems and poetics, groups and distribution
networks, the geography and sociology of North American poetry, with the hope
that they will contribute to sketching a recent history of North American
poetry.
Proposals for papers (English only) should include a brief abstract (300 words) and a short biographical note and be addressed to northamericanpoetry2020@gmail.com by January 8, 2021.
Thursday 13 and Friday 14 February 2020: Poets & Critics Symposium with Lyn Hejinian. Université Paris Diderot
Wednesday 1 July 2020: “New Work on the New York School” symposium with Rona Cran‘s and Yasmine Shamma’s research collective, in collaboration with the University of Birmingham and the University of Reading. Université Paris Est Marne-la-Vallée. See Call For Papers below or here.
Thursday 2 and Friday 3 July 2020: Poets & Critics Symposium with Alice Notley. Université Paris Est Marne-la-Vallée.
We welcome short papers addressing any aspect of New York School poetry, art, and writing for the inaugural meeting of the Network for New York School Studies (NNYSS). This event builds on the research network scholars and poets began to form during the illuminating New Work on the New York School symposium and poetry evening held at the University of Birmingham in 2018. We hope it will be the second international meeting of many.
We are particularly interested in presentations that deal with the place of New York School poetry, both in its emergent moment, and since:
how did New York School poetry and art define itself in its moment?
what has it come to mean?
who are its artists and poets?
what “schools” or movements has it influenced?
how did / does it sit within broader New York / American / global writing and culture (including film, music, and art)?
what can be said of 3rd and 4th generation New York School writing?
what do we talk about, now, when we talk about the New York School?
Talks are expected to be 5-10 minutes in length. Close-readings, interdisciplinary discussions, presentations of archival work, joint presentations, work-in-progress, artistic responses, and other conventional or unconventional responses to the New York School, broadly conceived, are especially welcome. Like last time, the event will be informal, conversational, interdisciplinary, and intersectional. It will conclude with a poetry reading in the evening (poets TBC).
This event is organized by Rona Cran (University of Birmingham) and Yasmine Shamma (University of Reading) and hosted by Olivier Brossard (Université Paris Est Marne-la-Vallée). It will take place at the Université Paris Est Marne-la-Vallée, on July 1, 2020, and will be followed by a 2-day Poets and Critics symposium focusing on the poetry of Alice Notley.
Paper / presentation proposals are welcome for submission until January 1, 2020. Please submit 200 words along with a 1-2 sentence bio to nwonthenys@gmail.com.
For detailed instructions and directions, click HERE.
Thus far, we have focused on the writer’s own (creative and critical) work on the first day of the P&C symposiums and on broader issues of poetics and practice-based criticism on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.
Please note that the morning session of the first day is devoted to preparing the conversation with Lyn Hejinian which will take place during the afternoon session and the second day.
Lyn Hejinian will be joining the group at 2pm on Thursday 13 February.
As usual, we intend to address all aspects of our guest’s work as poet, prose writer, critic, and editor.
Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Thursday afternoon session with Lyn Hejinian should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
*
Lyn Hejinian teaches at the University of California, Berkeley, where her academic work is addressed principally to modernist, postmodern, and contemporary poetry and poetics, with a particular interest in avant-garde movements and the social practices they entail. She is the author of over twenty-five volumes of poetry and critical prose, the most recent of which are Positions of the Sun, which was published in January, 2019 by the Brooklyn-based independent feminist literary collective and small press Belladonna, and Tribunal, published by Omnidawn books in the spring of 2019. Translations of her work have been published in Denmark, France, Spain, Japan, Italy, Russia, Sweden, China, Serbia, and Finland. She is the co-director (with Travis Ortiz) of Atelos, a literary project commissioning and publishing cross-genre work by poets, and co-editor (with Jane Gregory and Claire Marie Stancek) of Nion Editions. Other collaborative projects include a composition titled Qúê Trân with music by John Zorn and text by Hejinian; two mixed media books (The Traveler and the Hill and the Hill and The Lake) created with the painter Emilie Clark; the award-winning experimental documentary film Letters Not About Love, directed by Jacki Ochs; the multi-authored 10-volume work The Grand Piano: An Experiment in Collective Autobiography (co-authored with Rae Armantrout, Steve Benson, Carla Harryman, Tom Mandel, Ted Pearson, Bob Perelman, Kit Robinson, Ron Silliman, and Barrett Watten [Detroit: Mode A, 2006-10])
*
Bibliography
Principal literary works
Poetry/prose
Tribunal (Omnidawn,
2019)
Oxota: A Short
Russian Novel (Wesleyan University Press, 2019; revised from first
edition [The Figures, 1991])
Positions of the Sun (NY: Belladonna Books, 2019)
The Unfollowing (Omnidawn
Books, 2016)
My Life and My
Life in the Nineties (Wesleyan University Press, 2013)
The Book of a
Thousand Eyes (Omnidawn Books, 2012)
Saga / Circus (Omnidawn
Publishing, 2008)
The Fatalist (Omnidawn
Books, 2003)
Slowly(Tuumba Press,
2002)
A Border Comedy
(Granary Books, 2001)
The Beginner
(Spectacular Books, 2000; Tuumba Press, 2002)
Happily (Post-Apollo
Press, 2000)
The Cold of Poetry (Sun
& Moon Press, 1994)
The Cell (Sun
& Moon Press, 1992)
My Life
(second version; Sun & Moon Press, 1987)
My Life
(Burning Deck, 1980)
Writing is an Aid
to Memory
(The Figures, 1978; reprinted by Sun & Moon, 1996)
Volumes of collaboratively composed poetry/prose and mixed-media work
The Wide Road (written
with Carla Harryman; Belladonna, 2010)
Situations, Sings(written with Jack Collom; Adventures in Poetry, 2008)
The Lake (with
Emilie Clark; Granary Books, 2004)
On Laughter: A
Melodrama (with Jack Collom; Baksun Books, 2003)
Chartings
(written with Ray Di Palma; Chax Press, 2000)
Sunflower (written
with Jack Collom; The Figures, 2000)
Sight
(written with Leslie Scalapino; Edge Books, 1999)
The Traveler and
the Hill and the Hill (a collaboration with Emilie Clark;
Granary Books, 1998)
Wicker (with
Jack Collom) (Boulder, CO: Rodent Press, 1996)
Individuals
(written with Kit Robinson; Chax Press, 1988)
Volumes of poetry translated and published in other languages
Mi Vide en Los
Noventa (My Life in theNineties),
tr into Spanish by Patricio Grinberg and Carla Chinski (Buenos Aires,
Argentina: Zindo & Gafuri, 2019)
Fatalisten (The Fatalist), tr.
into Danish by Alexander Carnera (Copenhagen: Det Poetiske Bureaus Forlag,
2018)
Pauza, rosa, chto-to
na bumage (A Pause, a Rose, Something on Paper / My Life), tr. into Russianby
Ruslan Miranov (Moscow: Hosorog No.
7, 2018)
Ma Vie (My Life), tr. into French by Maïtreyi and Nicolas Pesquès, (Dijon,
Presses du réel, 2016)
Gesualdo, tr. into Turkish by Uygar
Asan (Kadikoy, Turkey: Nod, 2015)
Minha Vida (My
Life), tr.
into Portuguese by Mauricio Salles Vasconcelos (Sao Paolo, Brazil: Dobra
Editorial, 2014)
Felizmente
(Happily), tr into Spanish by Gidi Loza (Playas de Rosarito,
Baja, California: Editorial Piedra Cuervo, 2013)
Mi Vida (My Life),tr. into Spanish by Tatiana Lipkes (Mexico City, Mexico: Mangos de
Hacha, 2012)
from My Life, tr.
into Japanese by Junichi Koizumi, Toshiro (Shige) Inoue, Mamoru Mukaiyama, and
Koichiro Yamauchi (Tokyo: Meltemia Press, 2012)
Mi Vida (My Life),tr. into Spanish by Pilar Vazquez and Esteban Pujals (Tenerife,
Spain: Acto Ediciones, 2011)
Gesualdo, tr.
into French by Martin Richet (Marseilles: Jacataqua, 2009)
Lentement
(Slowly), tr.
into French by Virginie Poitrasson (Paris, 2006)
Mitt Liv (My Life and My Life in the Nineties), tr. into
Swedish by Niclas Nilsson (Stockholm: Modernista, 2004)
Mit Liv (My Life), tr. into Danish by Jeppe
Brixvold with Line Brandt (Copenhagen: Borgen, 2001)
Jour de Chasse (The Hunt),
tr. into French by Pierre Alferi; (Paris: Cahiers de Royaumont, 1992)
Edited poetry volumes
(with Olivia Friedman) Ghosting Atoms: Poems and Reflections Sixty Years After the Bomb (Berkeley:
Consortium for the Arts and UC Regents, 2005)
Best American
Poetry 2004 (New York: Scribner’s, 2005)
Critical writing
Volumes of critical writing
The Language of
Inquiry
(University of California Press, 2000)
Two Stein Talks
(Weaselsleeves Press, 1995)
Leningrad,
written with Michael Davidson, Ron Silliman, Barrett Watten (Mercury House,
1991)
Volume of critical prose translated and published in another language
Det öppna och det
säregna (The Language of Inquiry), tr.
into Swedish by Camilla Hammarström (Stockholm: Bokförlaget Lejd: 2016)
Edited volumes
(with Barrett Watten) Poetics Journal Digital Archive (ebook; Wesleyan University Press,
2015)
(with Barrett Watten) A Guide to Poetics Journal: Writing in the Expanded Field,
1982-98 (University Presses of New England/Wesleyan University Press, 2013)
Translations
Volumes of translation
Description, poems
by Arkadii Dragomoshchenko (Sun & Moon Press, 1990)
Xenia, poems
by Arkadii Dragomoshchenko (Sun & Moon Press, 1994)
Other
Exhibition catalogues
In time;
catalogue text for Diane Hall, “in time” (San Francisco: Rena Bransten Gallery,
January 5-February 23, 2019)
Away at Home;
curator’s introduction to exhibition catalogue of new works by German
photographer Heike Liss (NY: CUE Art Foundation, spring 2006)
Work in other media
Visualart
Exhibition of Film Works (mixed media drawings), Kala
Art Institute (Berkeley), spring 2017
Two mixed media drawings, in “Poetry and its Arts: Bay
Area Interactions 1954-2004,” group exhibition at the California Historical
Society (San Francisco), curated by The Poetry Center (SF State University),
December 2004-April 2005
Two mixed media drawings, in “Poetry
Plastique,” group exhibition, Marianne Boesky Gallery (New York), February 2001
“The Traveler and the Hill and the Hill,”
two-person exhibition, Museo Nazionale dell’Architettura, Ferrara (Italy),
May-June, 2000
“The Eye of Enduring,” painting and poetry
(a collaboration with Diane Andrews Hall); exhibition at Sherrill Haines
Gallery, San Francisco, 1995
Film
“Letters Not
About Love,” feature film directed by Jacki Ochs with script based on
correspondence between Lyn Hejinian and Arkadii Dragomoshchenko (premier, South
by Southwest Film Festival, First Prize: Documentary, 1998)
Music
Text
for “Poetry and Playing,” CD by British avant-garde guitarist Derek Bailey
(2003)
“Que Tran,” music and poetry (a collaboration with
John Zorn); on cd (New Traditions in Far
East Asian Bar Band Music), Electra/Nonesuch 1997
AJI, Hélène. “The Stakes of Narrative in the Poetries of David Antin, Ron Silliman, and Lyn Hejinian: New Forms, New Constraints,” Revue française d’études américaines, 103.1 (2005): 79-92. –. “ ‘Life’ ‘Drafts’: Towards Two Non-Dogmatic Poetics,” Revue française d’études américaines, 147.2 (2016): 78-92.
ALTIERI, Charles. “What Is Living and What Is Dead in American Postmodernism: Establishing the Contemporaneity of Some American Poetry,” Critical Inquiry, 22.4 (1996): 754-89. –. “Lyn Hejinian and the Possibilities of Postmodernism,” Women Poets of the Americas: Toward a Pan-American Gathering, Cordelia Candelaria and Jacqueline Vaught Brogan (eds.), IN: University of Notre Dame Press, 1999.
CAZÉ, Antoine. “Alterna(rra)tives: Syntactic Spaces and Self-Construction in the Writing of Lyn Hejinian and Leslie Scalapino,” Ideas of Order in Contemporary American Poetry, Diana von Finck and Oliver Scheiding (eds.), Würzburg: Könighausen & Neumann, 2007, 197-214. –. “ ‘The event is the adventure of that moment’: Hejinian Happenstance Happiness,” Lectures du Monde Anglophone, 2 Littérature et événement (2016).
DWORKIN, Craig Douglas. “Penelope Reworking the Twill: Patchwork, Writing, and Lyn Hejinian’s ‘My Life’,” Contemporary Literature, 36.1 (Spring 1995): 58-81. –. “Parting With Description,” American Women Poets in the 21st Century: Where Lyric Meets Language, Claudia Rankine and Juliana Spahr (eds.), CT: Wesleyan UP, 2001, 243-265.
EDMOND, Jacob. “ ‘A Meaning Alliance’: Arkady Dragomoshchenko and Lyn Hejinian’s Poetics of Translation,” The Slavic and East European Journal, 46.3 (Autumn 2002): 551-64. –. “Locating Global Resistance: The Landscape Poetics of Arkady Dragomoshchenko, Lyn Hejinian, and Yang Lian,” Journal of the Australasian Universities Modern Language Association, 101 (May 2004), 71-98. –. “The Closures of the Open Text: Lyn Hejinian’s ‘Paradise Found’,” Contemporary Literature, 50.2 (Summer 2009), 240-72. –. “Lyn Hejinian and Russian Estrangement,” A Common Strangeness: Contemporary Poetry, Cross-cultural Encounter, Comparative Literature, NY: Fordham UP, 2012, 72-94.
GOLSTON, Michael. “A=L=L=E=G=O=R=I=E=S: Peter Inman, Myung Mi Kim, Lyn Hejinian,” Poetic Machinations: Allegory, Surrealism, and Postmodern Poetic Form, NY: Columbia UP, 2015, 101-44.
HINTON, Laura. “Postmodern Romance and the Descriptive Fetish of Vision in Fanny Howe’s The Lives of a Spirit and Lyn Hejinian’s My Life,” We Who Love to Be Astonished, Laura Hinton and Cynthia Hogue (eds.), AL: University of Alabama Press, 2002, 140-51.
HOFER, Jen and Rod SMITH (eds.). Aerial 10: Lyn Hejinian, DC: Aerial/Edge, 2015.
KELLER, Jim. “Language as Visible Vapor: Skywriting through Lyn Hejinian’s Happily,” Poetry and Pedagogy: The Challenge of the Contemporary, Joan Retallak and Juliana Spahr (eds.), NY: Palgrave Macmillan, 2006, 224-232.
LEMARDELEY, Marie-Christine. “Lyn Hejinian : l’écriture à la limite,” Études anglaises, 61.2 (2008): 192-201.
MANNING, Nicholas. “Entre organisme et mécanisme : une façon désuète de penser la forme poétique contemporaine ?” Le Modèle végétal dans l’imaginaire contemporain, Inès Cazalas and Marik Froidefond (eds.), Strasbourg: Presses universitaires de Strasbourg, 2014, 59-71.
NICHOLLS, Peter. “Phenomenal Poetics: Reading Lyn Hejinian,” The Mechanics of the Mirage: Postwar American Poetry, Michel Delville and Christine Pagnoulle (eds.), Liège: English Department, University of Liège, 2000, 241-52.
SHOPTAW, John. “Hejinian Meditations: Lives of The Cell,” Journal
X, 1.1 (1996): 57-83.
SPAHR, Juliana. “Resignifying Autobiography: Lyn Hejinian’s My Life,”
American Literature, 68 (1996): 139-59.
SWENSEN, Cole. “Re-membering Time in Hejinian’s My Life,” Revue française d’études américaines, 147.2 (2016): 93-99.
THOMAS, Chloé. “Déplacements du lyrisme dans
le poème autobiographique postmoderne My Life de Lyn Hejinian,” Revue
française d’études américaines, 145.4 (2015), 67-75.
TOMICHE, Anne. “ ‘We Do Not Encourage a
Nightingale’ : Avatars du rossignol romantique dans la poésie du vingtième
siècle,” Écrire l’animal aujourd’hui, Lucile Desblaches (ed.), Clermont-Ferrand:
Presses Universitaires Blaise Pascal, 2006, 135-51.
VICKERY, Ann. “Supporting a Scene: Tuumba Press,” Leaving Lines of
Gender: A Feminist Genealogy of Language Writing, NH: University Press of
New England, 2000, 63-73.
