1."Moore's best poems express a conflict between her desire to form and delimit thought and experience and her alertness to the unassimilable detail...The motion of these poems is toward the repeated discovery of this area of conflict, centered in the notion of the genuine, and the resulting friction in the language has an affective power of 'gusto.'" Costello, Bonnie, _Marianne Moore: Imaginary possessions_, Cambridge, Harvard University Press, 1981. "your thorns are the best part of you." Marianne Moore, "Roses Only"
2. "Braithwaite's prosody is personal and exploratory... generally non-metrical...[It] has lately drawn increasingly on indigenous, popular music forms as well as surprising graphical effects. The space of the page is taken as a site in itself, a syntactical and visual space to be expressively exploited, as was the case with the Black Mountain poets, as well as writers such as Frank O'Hara, perhaps partly in response to gestural abstract painting." Michael Palmer, "Active boundaries: Poetry at the periphery" as reprinted in Baker, Peter, ed., _Onward: Contemporary poetry and poetics, New York, Peter Lang, 1996, p. 276.
3. "Language, which also binds together and extends, including as it isolates, is a city also." Stephen Rodefer, "Preface", _Four lectures_, Great Barrington, MA, The Figures, 1982. "The creation of this new 'wilderness,' of what Robert Creeley called 'the opening of the field,'" Perloff, Marjorie, "Talk poetry, talk show, and the scene of writing," from _Radical artifice: Poetry in the age of media_, University of Chicago Press, 1991.
4.Paul Vangelisti, "Collage as language: further thoughts on 'Events'," in Katherine Hoffman, Collage:critical views, Ann Arbor, UMI Research Press, 1989, "[collage] grew out of an urge (however fictively or artificially realized) to base art in physical reality, in the language contemporary reality was speaking to me [quotes Spicer on desire for "the moon in my(Spicer's) poems to be a real moon. which could suddenly be covered with a cloud...a moon utterly independent of images]." Vangelisti then goes on to describe his own experiences working with collage poetry and the effect this had on him - essentially he describes a move from "a certain 'tragic' ethos or stance for which the desire to write verse preordained me" to "the salvage in _Portfolio is precisely comic, an assemblage of social and personal contexts within which poetic language may be renewed...in choosing to play with this phenomenon, I find my poetry redefining itself..."
5. "Collage relations transform the simple, historical finality of 'end' into a complex structure of overlapping edges, each now capable of expressing a form of desire. At 'an end - of roses,' an evocative 'it'....Now the art object itself discloses a life of the rose, capable of synthesizing masculine and feminine in a complex structure of broken edges....capable of preserving that imaginative space in which sexual identities can blend and sexual possession becomes a form of renewing the other's distinctness." Charles Altieri, _Painterly abstraction in modernist American poetry, Cambridge, Cambridge University Press, 1989 http://members.tripod.com/~trbell/criticism/immed.htm
6. "This space is the poem's space. Letters are sounds we see. Sounds leap to the eye. Word lists, crosses, blanks, and the ruptured stanzas are points of contact and displacement. Line breaks and visual contrapuntal stresses represent an athematic intention. This space is the poet's space. Its demand is her method." Susan Howe, "These flames and generosities of the heart: Emily Dickinson and the illogic of sumptuary values" in _The birthmark: Unsettling the wilderness in American literary history, Hanover: Wesleyan University Press of New England, 1993.
7. M. P. Follet. _Creative experience_, NY, Longman's. Green, and Co., 1924. "You can tear it (the unity of experience) to pieces if you will and find subject and object, stimulus and response. or - you can refuse to: you can claim the right to see it as a rational interplay of forces, as the functioning of a self-creating coherence. Consciousness is the living interplay of a self-generating activity." p.74 Gesture Johanna Drucker http://www.granarybooks.com/granary_frames2.html http://members.tripod.com/~trbell/criticism/immed.htm Lafaille, R., & Lebeer, J. (1991). The relevance of life histories for understanding health and healing. Advances, 7, 16-31. "Subjective data consist of the experiences of objective life events and the way these experiences are integrated and expressed in a person's life, including the person's body. (p. 24)." "...the subjective biography gives a necessary and meaningful context to the objective life history and the case history. But we would go one step farther and attempt to bring to light the largely unconscious inner biography. (p. 26)""We also can find a connection between the onset of diseases and the onset of feelings of disintegration: the feelings always preceded the disease in time. And we can see a synchronicity between an inner growth process (in which active decisions play an important part) and an improving sense of health. (p. 26)" I don't want to be become what I despise or hate is a weight lifted off of my shoulders and a glimpse of freedom and ability to play back and forth until I find a way to grapple with the trickster that unearths my shadow side that is really a delicate maiden that trembles and shakes in the wind the slightest wind that wafts over it is hard try to trust in what will come without trying to control and challenge and change it into what will be seen as ok as allowable in the eyes of the one that waits to pounce on my breath as I let it out and extend it to get what I want and need that I deny myself by holding in and not expelling my breath and keeping from giving voice or writing out or letting grow my desires to be more than I have given myself credit for.
8. "fugue itself is not a form. Rather, it is a process of continual expansion or growth, the many from the one...Donald Francis Tovey [defines] fugue simply as 'a texture.' For when we look for the root of this new term, what we find is the Latin _textura_, 'a weaving.'...Shapes are the earliest indications of form...It is shape - in coordination with the other firsts of glyph, dance, and body cited in Zukofsky's demographic of composition - that orders the poem's rhythm and style. John Taggart, "Come shadow come and pick this shadow up," in _Songs of degrees: Essays on contemporary poetry and poetics, Tuskaloosa, University of Alabama Press, 1994.
9. What then is the order which pervades a work like the "Marriage?" Blake called it the order of imagination - the order generated through the faculty or process which discovers previiously unapprehended relations of things. The most striking aspect of the highly differentiated naterial in the "Marriage" is that it encourages the reader to draw out unusual substantive and grammatological relationships which conventiion will normally miss or avoid. Antinarrative calls those conventions into question and develops the premonitory conditions for imaginative activity. Indeed, antinarrative frequently generates imaginative localities and incommensurate particulars which escape the imperialism of narrativity. But nonnarrative alone will establlish, among the kingdoms and prncipalities of narrative, the proper world of what Blake called imagination." Jerome McGann, "Contemporary poetry, alternative routes."