Archive for the ‘Praise and Polemics’ Category

Grammar, linguistic and literary production, and related matters: a note for Kent Johnson

If there’s one thing that indefatigable gadfly of a poet Kent Johnson and I share it’s a stubborn, irritable tick of concern with L=A=N=G=U=A=G=E poetry and poetics and their “post avant” wake (so wide now few poets or critics seem aware how much they operate within its horizon…).

Recently, his most recent online persona linked an article he had written for absent, “competence, linguistics, politics & post-avant matters”. Therein, he rightly takes to task Charles Bernstein et al. for their loosey-goosey way of discussing (and thinking about) language, grammar, ideology, and society. I can’t say I’m in full agreement with Johnson on all points, but the drift of his argument is surely in the right direction.

It was with no little delight I read in a recently acquired copy of Slavoj Žižek’s 2012 Less Than Nothing the following passage, which sums up pointedly and neatly the fundamental misunderstanding of language (the identification of linguistic or literary production with that of commodities) that underwrote, at least, the early days of L=A=N=G=U=A=G=E:

The basic premise of discursive materialism was to conceive language itself as a mode of production, and to apply to it Marx’s logic of commodity fetishism. So, in the same way that, for Marx, the sphere of exchange also obliterates (renders invisible) its process of production, the linguistic exchange also obliterates the textual process that engenders meaning:  in a spontaneous fetishistic misperception, we experience the meaning of a word or act as something that is a direct property of the designated thing or process; that is, we overlook the complex field of discursive practices which produces this meaning. What one should focus on here is the fundamental ambiguity of this notion of linguistic fetishism:  is the idea that, in the good old modern way, we should distinguish between “objective” properties of things and our projections of meanings onto things, or are we dealing with the more radical linguistic version of transcendental constitution, for which the very idea of “objective reality” of “things existing out there, independently of our mind” is a “fetishistic illusion” which is blind to how our symbolic activity ontologically constitutes the very reality to which it “refers” or which it designates? Neither of these two options is correct—what one should drop is their underlying shared premise, the (crude, abstract-universal) homology between discursive “production” and material production. (7)

I am skeptical Žižek’s characteristically canny observation settles the question (one that extends back to the advent of philology (the science of language) and literature-as-such), but it is surely sharp enough to cut through much of the underbrush!

To praise, that’s the thing! Geoffrey Nilson on Lynn Crosbie’s influence

Over at many gendered mothers, Geoffrey Nilson gives some well-deserved praise to Lynn Crosbie.

Nilson begins his laudation with reference to Crosbie’s infamous, bête noire of a book, 1997’s Paul’s Case (which I would still energetically maintain is a tour de force). Where Nilson goes on to describe Crosbie’s influence on his own work and self-understanding, I would point to her exemplary 2006 poetry book Liar as another index of her singular, independent talent:  at a time when only the most mannered poetry was de rigeur, Liar stood out alone as a work of fierce, fearless confession.

Read Nilson at the link above, and get and read something by Lynn Crosbie!

Praise the algorithm! Plunging into the silliness: Andrew Lloyd’s career as an Instagram poet

Thanks to real poet Michael Boughn for sharing Andrew Lloyd’s article from Vice “I Faked My Way as an Instagram Poet, and It Went Bizarrely Well”—a fortuitous addendum to my last post, “Synchronicitious Critique”.

Reflections on James Dunnigan’s ‘The Stained Glass Sequence’

I had the chance recently to discuss how James Dunnigan’s The Stained Glass Sequence sequence-thumbjust out from Frog Hollow Press might be received. It’s a weird poem in the context of present-day English-language poetry, with gestures and stances more reminiscent of High Modernism, intricate and allusive, than anything you might read on a visit to, say, the Poetry website….

It was the refractory complexities of just the suite’s title that made me think “How someone who reads poetry can review it is just beyond me….” which I posted on social media, which, in turn, received (among others) a telling reply:  “It is a form of reading, at best.”

Taken by itself (the thread did wind on…), this response can be taken to be representative in several ways. First, it assumes the spontaneous authority of the vulgar usage of the verb ‘to read’, an authority that in certain regards is beyond reproach but which is also constantly in danger of asymptoting to the thoughtless. More significantly it enacts precisely what my original post found problematic, since it seems either to refuse or fail to register the stress on ‘reads‘ indicated by the italics (to suggest the word twists in some way from the ordinary sense) and the claim made in the predicate (which further torques the notion of reading from its accepted sense); that is, it doesn’t read or try to understand the original post, seeming more concerned to leave everything the way it is, its complacency disturbed just enough to defend the status quo and defer reflection.

In the same way, many readers will no doubt pass over the implications of the title. If there’s one dogged misperception that has persisted since the late Eighteenth Century it’s the Baconian idea that the word is or should function as a transparent medium, a window onto the world, a notion the title troubles doubly, for stained, unlike transparent, glass, though translucent, colours what might be viewed through it, and, more importantly, its pieces are a medium to compose a design or picture the window frames rather than a view through it. To borrow a two centuries’ old terminology, the title suggests the sequence’s language not so much represents but presents. Any reading, let alone evaluation, of the sequence that fails to assiduously and consistently treat the language as refractory rather than transparent will fail to appreciate it in the first place.

Of course, such reflexivity, a gesture that goes back to Homer, is only a start to the title’s formal sophistication. Its grammar, likewise, throws light on the poem: it is composed of a substantive (‘sequence’) preceded by three modifiers (‘The Stained Glass’…). If one considers the middle two words in themselves, in the etymology that roots their adjectival function, they, too, possess the same syntax, a substantive ‘glass’ modified by ‘stained’. This is to say, the syntax of the title, in a way, is nested, or, better, framed, the way the implications of the title arguably frame, or should, the reception of the poem.

And reading the sequence, the attentive reader will remark how little stained glass or stained-glass windows actually appear in the poem. The sequence opens ekphrastically, describing a painting by Chagall, stained glass is mentioned as such in the second part, the fourth section is in four “panels”, and Michelangelo and the Sistine Chapel are remarked in the fifth. That the poem makes far more consistent reference to painting than stained glass suggests all the more the formal reflexivity of the title than its naming “an important theme” that the sequence takes up and develops.

A careful, thoughtful reader may well mark, too, another complication. The title is, in a way, paradoxical, modifying a temporal noun (‘sequence’, a pattern than unfolds linearly in time) with a spatial modifier (‘stained glass’, a translucent medium that either colours light or is itself used in the composition of a design or picture, a work of art perceived spatially). There is then a tension, as the sequence is, perhaps, a series of spaces arranged in time, though the title names the sequence as a sequence, as a temporal form, as language itself is.

Any reading of Dunnigan’s book that fails to read (in the most emphatic sense) even the title will likewise falter in understanding the sequence the title frames and thereby governs. And if so much is at work even before the first word of the poem is read, let alone on every line, if this reader is a reviewer, how little weight will their judgement carry if they fail to register these first—preliminary, guiding, essential—aspects of the poem?

“To praise–that’s it!”

Canadian poet Patrick Lane passed away today at the relatively young age of 79.

Though I never knew him personally, he was an eminent figure in Saskatchewan during my years as an apprentice poet, along with his partner Lorna Crozier, John Newlove, Andrew Suknaski (all three of whom I was lucky enough to learn from personally), Barbara Sapergia, and Geoff Ursell, among others, and I heard him read on a number of occasions.

What strikes me now is how quickly many have expressed their shock, grief, and appreciation for the man and his writing, which is as it should be. However, it seems to me that such praise shouldn’t have waited until it was too late for him to have heard or read it and appreciated it (though he did receive many accolades during his lifetime).

If you read a poem that knocks your socks off, or a book of poems, or a book-length poem, these days you can tell the poet how much you appreciate their work at the speed of light (depending on your data package). I’d encourage you to do so. The poet will appreciate it more, now, than wreaths of belated praise heaped upon their legacy once they’re gone.



“The poetry wars never ended.”

DftPWChicago Review has just posted a lively, provocative conversation with Kent Johnson and Michael Boughn about the motivations driving that equally lively web-journal Dispatches from the Poetry Wars.

At a time when Instapoets are lionized as The Big New Thing (because of their sales numbers) and the art is otherwise domesticated (in the MFA program and English class), I know of few more vital, critical, and necessary sites of resistance than Dispatches.

“…voices / …heard / …as revelations”

Interested parties can read a talk I gave at the Spirituality in Contemporary Canadian IMG_0693and Québécois Literature Panel at the annual meeting of the Association for Canadian and Quebec Literatures, Regina, Saskatchewan, 27 May 2018.

“…voices / …heard / …as revelations”:  Peter Dale Scott’s Contribution to the Discourse of the Postsecular in his Seculum Trilogy and Mosaic Orpheus


“Ahi, quanto a dir qual era è cosa dura…”: a note on the postmodern Dante

Any visitor curious enough to view the reading that launched March End Prill might have selva oscurabeen in equal parts mystified and amused by my describing Cervantes and Homer as “avant garde, reflexive, or postmodern”. If so, then they’d be equally quizzical  of my describing Dante as postmodern.

I’ve made it a ritual to read through Dante’s Commedia every Easter Week “in real time”, The Inferno Good Friday and Holy Saturday, The Purgatorio Easter Sunday through to Wednesday, and The Paradiso as I will, as, having left the earth, terrestrial time no longer applies to the Pilgrim Dante or, in this case, his reader.

One of the things that makes Dante’s epic a classic is that even returning to it annually in this way, even the most familiar passages give up hitherto unnoticed features and meanings. Such was my experience this year, rereading the opening lines of The Inferno:

Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura,
ché la diritta via era smarrita.
Ahi quanto a dir qual era è cosa dura
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
Tant’ è amara che poco è più morte;
ma per trattar del ben ch’i’ vi trovai,
dirò de l’altre cose ch’i’ v’ho scorte.

Midway in the journey of our life
I came to myself in a dark wood,
for the straight way was lost.
Ah, how hard it is to tell
the nature of that wood, savage, dense and harsh —
the very thought of it renews my fear!
It is so bitter death is hardly more so.
But to set forth the good I found
I will recount the other things I saw.

A simpler, more literal rendering of line four would be “Ah, how to say what was is a hard thing…”.

Arguably the most immediate way to take this line is that the Pilgrim-Poet Dante, recounting his experience relives the fear he felt lost in that wild wood (delightfully, in the Italian, esta selva selvaggia), which causes a moment of reflection wherein he (reflexively) writes, not about the wood or his fear, but about his writing about the wood and his fear. That is, “it is difficult to write about so fearful an experience, because writing about it requires I in a way relive that fear”.

But, of course, the persona of the Pilgrim is a mask worn by the poet Dante. Considered from this angle, the poet is writing about writing his poem. This admission of the challenge of the epic task the poet has set for himself and the demands that this project place upon the poet’s talent is a pattern that recurs throughout the Commedia, most immediately and movingly in the next canto, where the Pilgrim questions his worthiness to follow Virgil through Hell and Purgatory and receives so tremendously a moving, eloquent pep talk in reply that, in all sincerity, it never fails to move me to tears. However much such an admission of humility is a rhetorical ornament common in Latin literature, it is no less moving, such is Dante’s genius. It is as if, then, the poet were admitting, “Ah, how hard it is to write this epic poem in this noble style I invented just for this purpose.”

The rich complexity of this line, however, is hardly exhausted in this near cliché example of the “postmodern” text’s referring to itself in however a sly, metapoetic manner. A quick glance back at the English translation of this line and its tercet reveals a curious pattern:  as the tercet progresses the translation becomes more literal. The Italian grammar of the line is, or so I have it on relatively good authority, somewhat counter intuitive to an English speaker, for ‘qual‘ that I translate as ‘what’ is a word that can function as either a relative pronoun or an interrogative, closer to English ‘which’. Moreover, the line conjugates the copula in both the past and present tenses:  “era è“, “was is”. Why various English versions of the line depart from the Italian as the syntactic demands of the remainder of the tercet demand is understandable. But it strikes me, perhaps only because of my depending on English translations and a casual commentary on the Italian grammar, that the line, describing difficulty, is, itself, linguistically difficult, a stylistic device that recurs in The Inferno. Here, then, the artistic awareness of the poet extends into the very syntax of his language.

Nevertheless, there is no small irony in the progression of the tercet. On the one hand, the Pilgrim-Poet admits to the emotional and poetic difficulty of presenting what he wants to present, but that “hard thing” (cosa dura) is, in a sense, dispensed rather too easily with three conjoined adjectives selvaggia e aspra e forte, savage and dense and harsh, followed by the simple, frank admission that remembering it renews his fear. For something so dura, hard, it is performed with a strikingly easy fluency. On the other hand, though, it could be that the remainder of the canto that deals with the Pilgrim’s encounter with its famous three beasts, the Leopard, Lion, and Wolf, and his being forced by them into darkness and despair is just that “hard thing” whose memory so frightens him (and fear is an important theme in these two cantos and throughout the Inferno), or it might be the Pilgrim-Poet rushes over that memory to pass through it and leave it behind to get to that more heartening good his being lost and finding his way through Hell and Purgatory to Paradise provides.

That Dante’s poem should display such deft and complex linguistic self-consciousness, a metapoetic dimension literary scholars have pegged as characteristic of postmodern literature, really shouldn’t be a surprise, for the work of literature that is at the same time about itself and literature was first theorized and intentionally explored over two centuries ago by the German Early Romantics, die Frühromantiker, in their journal The Athenaeum (1798-1800) and in their criticism, letters, poems and novels. Indeed, the three characteristically “modern” writers for the Jena romantics were Goethe, Shakespeare, and Dante.

News that stays news: On the Verbal Art of the Plain-spoken Poem

IMG_2521Recently, I’ve found myself caught up in a couple of on-line discussions where the topic turned to the reception of the “accessible” poem, one whose language is self-effacing and limpid.

One of my interlocutors, Chris Banks, put the matter quite well:

People are either terrified of being accessible, or terrified of meaning itself, leaving nothing for critics to puzzle out, or else are more interested in the surprise, the bizarre, the magic trick ahhhhh….

Problem is we need more perceptive readers of poetry who can establish what a poem is trying to do without equating sincerity with shortcomings, accessibility with simplicity, etc. I long for a day when we don’t have to announce a book has formalist elements on the jacket copy of books in this country. However, if you don’t, no one looks for such elements.

At a time in English-language poetry in North America when the poem that draws attention to its artfulness in various ways for various reasons is arguably in the ascendant, perhaps it’s time reconsider à rebours the innate and intricate artfulness of the poem that doesn’t parade its poeticity in “a coat / Covered with embroideries” but that takes up the challenge that “there’s more enterprise / In walking naked.”

To wit, I direct the interested reader to an intentionally perverse close analysis of the prosody of a brief poem by Elaine Equi, “Prescription”.


A Class of One’s Own: an all-too-brief appreciation of the poetry of John Newlove

[Just over five years back, I heard tell that a collection of criticism on the work of John Newlove was in the works. I contacted the editor to offer what I could, as I had first started writing poetry under Newlove’s influence and tutelage. What follows was the result. It seems now that that collection is not forthcoming, so I share these cursory reflections here, now.]

The status of John Newlove’s poetry in Canada is curious. The consistent admiration and acclaim it received over nearly four decades, from even before the publication of his Governor General’s Award winning Lies (1972) up to and including the appearance of his latest volume of selected poems A Long Continual Argument (2007), would seem to suggest that his work would be more widely and closely studied, both by scholars and poets. His publishing only one trade edition after Lies, The Night the Dog Smiled (1986), and that the only one before his death in 2003, is surely in part to blame. Moreover, changes in taste and tendencies in academic criticism during this time, anathema to the singular pathos of his polished and laconic lyrics, surely served to only further marginalize the work of a man already famously a loner. It is perhaps reason for optimism in this regard that Jeff Derksen, a poet associated with Canada’s avant-garde, essays a postmodern sociological reading of Newlove’s poetry in his afterword to A Long Continual Argument (237ff.). As bracing as it would be to make a case for a more sustained and scrupulous critical attention to Newlove’s work, I will here follow Newlove’s own example, the one he provides at the end of Derksen’s afterword, where he invites Derksen in to show him “the careful syllabics of an Irish writer…, literally counting the syllables per line…” (245).

As is probably well-known, Newlove’s poetry first appears on the West Coast during that flowering of Canadian poetry that occurred during the Sixties and Seventies, a milieu famously (or infamously, depending on your critical predilections) in contact with what came to be called the New American Poetry, a relation most dramatically exemplified by the University of British Columbia Poetry Conference (1963) attended by Charles Olson, Robert Creeley, Robert Duncan, Allen Ginsberg, and Philip Whalen. The New American Poetry and its poetics were profoundly influenced by Ezra Pound, whose criticism provides useful, basic concepts for an appreciation of Newlove’s art, as well. Pound distinguishes three “kinds of poetry”: phanopoeia, melopoeia, and logopoeia (25), or, as Louis Zukofsky was to reword it, the uses poetry makes of sight, sound, and intellection (Test vii). Newlove’s writing excels at all of these. On the back cover of The Fatman (1977), Frank Davey’s blurb stands out bold:  Newlove’s is “[o]ne of the most direct and visually precise styles in twentieth-century poetry.” Among Newlove’s own saws is to “Read with your ears, not just your eyes.” And his enjambments and the sly suggestiveness of his (under)statements take up and hand down powers inherent in English poetry from its beginnings.

However acute a critic Davey is, it is difficult to find many examples of “visually precise” passages, if what he refers to is what Longinus termed phantasia (Russell and Winterbottom 159), that “casting of images upon the visual imagination” (Pound 25). Nevertheless, the first two stanzas of the title poem from Black Night Window (1968) present, arguably, an image, “an intellectual and emotional complex” (Pound 4):

Black night window—

rain running down

the fogged glass,


a blanched leaf

hanging outside

on a dead twig (11)

Rigorously and economically phanopoetic, every line but the fifth (“hanging outside”) frames a concrete noun, and all but the last adjective (“dead”) are immediately sensuous. None of the poem’s four tercets comments or states: lacking a verb, each is a phrase whose sense hangs on what each depicts. Taking the poem’s images together, Pound would say the poem is an ideogram, communicating by means of “images juxtaposed” (Ginsberg, Howl 74).

One especially intellectually complex image is found in “The Green Plain”, a long poem first published as a chapbook and later included in The Night the Dog Smiled. At the centre of the poem is the question at the heart of philosophy “Why is there something rather than nothing?” that Newlove reworks, wondering whether there is “reason / in the galaxies—Or is this all glass, / a block bubbled in a fire…?” (21). To expand on the aptness of this metaphor would demand an excursus all its own, involving, among other things, the juxtaposition of the stars and bubbles, the contrast between the solidity of glass and the emptiness of space, the condensation of mythopoetic and cosmological speculation that fuses Fire with the Big Bang, and so forth.

Newlove’s prosodic gift and mastery are discernable throughout his oeuvre. “Public Library” (in Black Night Window) is, for example, an exemplary, inimitable performance. Sitting “half in a dreamed trance  half listening / to the people around” (4-5), the poet hears the library’s forced silence amplify sounds normally unnoticed, shuffling feet, shaken newspapers, and

books crackling as their backs [are] broken

the flick/flick of fingertips

and fingernails on the corners of pages

snap of shutting decisively

or accidentally   plump lackadaisically

muted thump of being tossed on low tables (13-18)

The technique here—onomatopoeia—is familiar enough, but the poem goes on, by means of a deft phonemic mix, to recreate the reading room’s soundscape over an enviably easy sixty-four lines!

More subtle and sophisticated pleasures are to be gleaned between that “Lower limit speech” and “Upper limit music” (Zukofsky, “A”-12 138), where the language as spoken is moved by emotion to a rhythm and dance of the syllables that approaches song. A tender instance is “For Judith, Now About 10 Years Old” from Moving in Alone (1965). The poem edges forward hesitantly, often only three to five syllables at a time, the lines turning from completing the thoughts they would compose, that would remember a niece’s traumatic scalding and wonder about the future of her scarred body,

welt ridges also

on the not even yet

about to be


womanly posterior

from where

the failing grafts

were taken… (8-14)

Only in the penultimate stanza can the speaker bring himself to ask “What will [she] do / when [her] breasts come?” (30-31). The poem ends with the uncle remembering “the feel of [her] tough / rubber-laced skin / as [he] spread salve on it” (32-35). The poem’s final two lines are striking in their simple economy of presentation, mimetic to a degree that eludes full, precise explanation: the enjambment that separates the adjective “tough” from “rubber-laced”, the isolation of “rubber-laced skin” on a single line that seems to render its referent palpable to the imagination’s fingertips, the play of sibilants over the last two lines softened by that one labiodental /v/ mimics the sound of the hands salving the girl’s “red / welted scars” (1-2).

The drawing out of sense, plying syntax over a number of verses, framing a clause or phrase on a line to focus attention on associations over and above those the completed thought of the sentence demands, is a characteristic power of English blank verse, from Chaucer, through Marlowe, Milton, and Wordsworth, to Wallace Stevens and Newlove. His prosody in this regard, how he harmonizes metre and expression to build up larger musical and syntactic structures, is a study. “Doukhobor” from The Cave (1970) is exemplary, a single, 188-word question articulated over twenty-six lines, asking a farmer, a member of an immigrant Saskatchewan prairie utopian religious community, “who will ever be able to say for” him what he had thought and seen in his life, when he “lies on the chipped kitchen table / … / dumb as an ox, unable to love, / while [his] women sob and offer the visitors tea” (2, 25-26). Despite this hyper-periodic style, the questioner’s wonderings are easy to follow. The poem’s being a question, moreover, secures it from any simple-minded accusation of appropriation. In its imagination, prosodic and syntactical construction, and rhetoric the poem is a tour de force.

Who reads Newlove with an appreciative pleasure will likely agree with Margaret Atwood, too-often quoted out of context (as I quote her, here, too!), who says Newlove “is indeed a master builder”; capable of writing in “something like a grand manner, his work is often a demonstration model of how it should be done” (Second Words, p.?). Newlove’s grand manner not only exhibits stylistic excellence but suits that excellence to the presentation of certain grand themes, what Dante calls those “‘splendidly great things’ which should be written about using the best available means,…which are prowess in arms, the flames of love, and the direction of the will” (Dante 35). In his 1989 Caroline Heath Lecture, Newlove defines his thematic concerns along similar lines. He says, “I write about desire, which often means to think about right and wrong, appropriate and inappropriate. I praise endurance” (2). Though Newlove’s order differs from Dante’s, desire (what Dante elsewhere paraphrases as “the enjoyment of love”), right and wrong (“virtue”), and endurance (“self-preservation”) are his transformation of age-old topoi into present, vital concerns. In a word, Newlove is a classic.

These all-too cursory remarks only begin an attempt at an appreciation that would venture more complex matters, beginning with “the classic”. The literary critical use of this term goes back at least to the third century C.E. and is bound up with the notions of class, “model”, and correctness and clarity. Reflections on clarity play into theoretical concerns at least a century old, ostraneniye (Shklovsky, cf. Lemon and Reis) and the distinctions between the lisible and the scriptible (Barthes) and between the “absorptive” and “anti-absorptive” (Bernstein). To develop these considerations uncovers Newlove’s linguistic rigor: his “baring the device” (Shklovsky) in his “anti-lyrics” (Barbour), his deft and unbalancing deployment of allusion and citation, and his scrutiny of semantic complexity in his fugal poems that play out the possibilities of a set of words or a phrase, as in “The Double-headed Snake” or “The Cave”. The study of Newlove’s oeuvre in this direction would not canonize him among Canada’s post-Tish post-modern poets, as Bowering would in the introduction to his 1984 anthology of contemporary Canadian poetry:  undermining and overturning such an attempted classification, Newlove’s poems elude and encompass such judgements that are at once both too general and too narrow for his world, wherein “one thing is not like another” (“Heath” 6), where “[n]ot to lose the feel of the mountains / while still retaining the prairies / is a difficult thing” (“The Double-headed Snake” 1-3).

Newlove names that “difficult thing” at the heart of his poetic labour. In his Caroline Heath lecture, he goes on to explain, “What I’m trying to be is human, without knowing what the word means” (7). Here is an endlessly open-ended theme, whose horizon swallows polemics against “Humanism”. Here, Newlove takes up a question not a doctrine, and though he may seem, at times, to “say things for the sheer pleasure of the phrase, forgetting that [he is] speaking to humans, with humans, forgetting to be human” (9), who hears or overhears him, by virtue of the dialogue understanding demands, becomes his interlocutor, which is, as it were, the last word:

All writing is saying, even in the choice of word and structure, this is what you need to know, this is what I need to know, this is the way the world is, this is the way the world should be, this is me, urgent and alive. I want to talk to you. (10)



Works Cited

Alighieri, Dante. Literary Criticism of Dante Alighieri, trans. Robert S. Haller, Lincoln:  U of Nebraska, 1973.

Atwood, Margaret. Second Words: Selected Critical Prose, Toronto: Anansi, 1982.

Barbour, Douglas. “Lyric / Anti-lyric:  Some Notes About a Concept” in Line, Vol. I, No. 3, Spring 1984, Burnaby:  Simon Fraser University, 45-63.

Barthes, Roland. S/Z, trans. Richard Miller, New York:  Hill and Wang, 1974.

Bernstein, Charles. Artifice of Absorption, Philadelphia, Singing Horse, 1987.

Bowering, George, ed. The Contemporary Canadian Poem Anthology, Toronto: Couch House Press, 1984.

Dyck, Ed, ed. Essays on Saskatchewan Writing, Regina:  SWG, 1986.

Ginsberg, Allen. Howl:  original draft facsimile, transcript & variant versions, fully annotated by the author, with contemporaneous correspondence, account of first public reading, legal skirmishes, precursor texts & bibliography, ed. Barry Miles, New York:  Harper Perennial, 1986.

Lemon, Lee T. and Ries, Marion J. Russian Formalist Essays, Lincoln:  U of Nebraska, 1965.

Newlove, John. Black Night Window, Toronto:  McClelland and Stewart, 1968.

—, ed. Canadian Poetry:  The Modern Era, Toronto:  McClelland and Stewart, 1977.

The Cave, Toronto:  McClelland and Stewart,1970.

The Fatman: Selected Poems 1962 – 1972, Toronto:  McClelland and Stewart, 1977.

The Green Plain, Lantzville:  Oolichan, 1981.

Lies, Toronto:  McClelland and Stewart, 1972.

Moving in Alone. Lantzville:  Oolichan, 1965.

—“Moving in Alone”, Caroline Heath Lecture, 18 November 1989.

The Night the Dog Smiled, Toronto:  ECW, 1986.

A Long Continual Argument:  The Selected Poems of John Newlove, ed. Robert McTavish, Ottawa:  Chaudiere, 2007.

Pound, Ezra. Literary Essays, New York:  New Directions, 1968.

Russell, D. A. and Winterbottom, Dr. M., Classical Literary Criticism, Oxford:  OUP, 1989.

Zukofsky, Louis. “A”, Berkeley: UCP, 1978.

—A Test of Poetry, New York:  Jargon / Corinth, 1964.