An anthology of poems by American poets born since 1940.

In 'Poetic License, ' Perloff insists that despite the recent interest in 'opening up the canon, ' our understanding of poetry and poetics is all too often rutted in conventional notions of the lyric that shed little light on what poets and artists are actually doing today.

Readers of Holden's splendid new book will be rewarded by his summary of the latest battle: neo-formalists versus post-(post?)-modernists versus creative writing programs versus whatever. The decline of modernism is also examined. Holden rightly chastises those who decry the institutionalization of poetry; details the current state of lyric, narrative, and political poetry; and gives sensitive, intelligent readings of works by new and established poets. An important book by a solid poet and critic. Highly recommended. --Vincent D. Balitas.

A galaxy of writers epitomizes the state of American poetry at the century's close.

Language writing, the most controversial avant-garde movement in contemporary American poetry, appeals strongly to writers and readers interested in the politics of postmodernism and in iconoclastic poetic form. Drawing on materials from popular culture, avoiding the standard stylistic indications of poetic lyricism, and using nonsequential sentences are some of the ways in which language writers make poetry a more open and participatory process for the readers. Reading this kind of writing, however, may not come easily in a culture where poetry is treated as property of a special class. It is this barrier that Bob Perelman seeks to break down in this fascinating and comprehensive account of the language writing movement. A leading language writer himself, Perelman offers insights into the history of the movement and discusses the political and theoretical implications of the writing. He provides detailed readings of work by Lyn Hejinian, Ron Silliman, and Charles Bernstein, among many others, and compares it to a wide range of other contemporary and modern American poetry. A variety of issues are addressed in the following chapters: "The Marginalization of Poetry," "Language Writing and Literary History," "Here and Now on Paper," "Parataxis and Narrative: The New Sentence in Theory and Practice," "Write the Power," "Building a More Powerful Vocabulary: Bruce Andrews and the World (Trade Center)," "This Page Is My Page, This Page Is Your Page: Gender and Mapping," "An Alphabet of Literary Criticism," and "A False Account of Talking with Frank O'Hara and Roland Barthes in Philadelphia."

Writing on Napkins at the Sunshine Club includes a poet laureate of Georgia and of the United States¿and the poet who read at President Clinton¿s second inauguration. The oldest was born in 1905 and the two youngest in that ominous year of American history, 1968. The Pulitzer-winning Stanley Kunitz wrote a famous poem about the Indian Mounds. Miller Williams, father of the Grammy winning Lucinda Williams, lived in Macon in the early 1960s and became a friend of Flannery O¿Connor. In the late 1970s, soon after his Mercer days, David Bottoms writes the poems for Shooting Rats at the Bibb County Dump and wins the Walt Whitman Award. Jud Mitcham wins the Devins Award for his first book, Somewhere in Ecclesiastes, and Seaborn Jones is doing his stint with Mister Rogers¿ Neighborhood and would later connect, in San Francisco, to one of the last pure lines of surrealism in American expression. Several poets came out of Macon or arrived in Macon soon after. Between Mercer University and Macon State College the activity of poetry in Macon thrived. Adrienne Bond wrote her seminal poems and started up the Georgia Poetry Circuit. Judith Ortiz Cofer passed through Macon State at the brink of her position at the University of Georgia and in American letters as an important artistic spokesperson for women¿s experience. From Bruce Beasley and his hybrid poetics, to Stephen Bluestone and his learned craft in the lyric poem, this book presents a selection for all students of Southern Literature some of the best poems of other poets, too, like Anya Silver, Amanda Pecor, Marjorie Becker, and the late Reginald Shepherd who was as well-known at his early death as any poet of his generation. Many of these poets studied with and knew the important poets of their time. The poems, nevertheless, speak for themselves.