Bruce Andrews

Conceived in 1976 and published in 1980, LEGEND exemplifies the political and linguistic commitments of then-nascent Language writing. Coauthored by Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman, the work was composed on typewriters and developed through the mail. The twenty-six poems of the volume bring together every possible permutation of collaborative authorship in one-, two-, three-, and five-author combinations, revealing the evolution of distinctive styles against and in conversation with others. Along with a complete reproduction of the original text, LEGEND: The Complete Facsimile in Context includes a critical introduction by editors Matthew Hofer and Michael Golston, a generous selection of material from the authors' correspondence, and a new collaborative piece by the authors. This book will be an essential resource to students and scholars in twentieth-century poetry and poetics.

CO is a series of five collaborations between Bruce Andrews and five different women: Barbara Cole, Jesse Freeman, Kim Rosenfield, Jessica Grim, Yedda Morrison. Andrews and his collaborators have advanced the notion of collaboration by showing how, with Andrews' sytle as an anchor, each of the other writers approach to writing is revealed. The hierarchy established addresses gender, social, political and language considerations at once and pulls the reader through the text as a narrative would without a single nod to the narrative forms.

Poetry. The book by prolific L=A=N=G=U=A=G=E poet Bruce Andrews, SWOON NOIR never fails to shake up linguistic expectations, without ridding itself of Andrews' characteristically wide ranging diction and attention to sound, with lines like "Ventriloquism helluva Cinderella" and "Rapt literalist proxy poppers." Andrews has published several dozen books of poetry and performance scores. He has taught Political Science at Fordham University since 1975.

In this selection of shorter lyric poems, celebrated Language poet Bruce Andrews offers his charismatic blend of satire, wit and jouissance, creating a dizzying picture of modern America. In these poems Andrews explores a more intimate and domestic register, further reminding us of the astonishing range of this contemporary master.

Andrews addresses - from a poet's perspective on how to understand and make use of contemporary practice - poetics and its role as a choreographer of discussions and theorizing about meaning. By focusing on the ways in which meaning is produced and challenged in contemporary literary work, Andrews grounds his work in cross-disciplinary theory. He analyzes poetics and the production of meaning; alternative traditions and canons and stylistic resources as a signpost for writing; and innovative contemporary poetry and its break with many of the premises and constraints of even the most forward-looking modernisms. The book combines a parallel sequence of interviews and symposia responses with shorter pieces on a variety of postwar English-language poets (from Oppen, Ashbery, and Howe to younger contemporaries). From a foundation in the specifics of current practice that more overarching theory often ignores, Andrews challenges and extends the limitations of traditional literary criticism.