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Volume 32, Number 4
May/June 2011
Uncreative Writing
Doug Nufer’s “Introduction to Focus: What Are You Calling Art?”
Jen Graves’s “Looking at Blindness: The Double Ascendancy of Conceptual Art and Writing”
Brian M. Reed reviews eds. Craig Dworkin and Kenneth Goldsmith’s Against Expression: An Anthology of Conceptual Writing
Andrea Quaid reviews Kenneth Goldsmith’s Uncreative Writing: Managing Language in the Digital Age
Jeffrey R. Di Leo reviews Marjorie Perloff’s Unoriginal Genius: Poetry by Other Means in the New Century
Laura Mathias reviews Matthew Timmons’s The New Poetics
Anna Moschovakis reviews Vanessa Place’s Tragodía 1: Statement of Facts
Doug Nufer reviews Simon Morris’s Getting Inside Jack Kerouac’s Head
Daniel Levin Becker reviews Robert Fitterman’s Now We Are Friends
Feature: More Memoir
Jennie Berner reviews Carol Novack’s Giraffes in Hiding: The Mythical Memoirs of Carol Novack
Andrew Bleeker reviews John Olson’s The Nothing That Is
George Held reviews Taylor Plimpton’s Notes from the Night: A Life after Dark
Book Reviews
Deb Olin Unferth reviews Lynn K. Kilpatrick’s In the House
Christopher Leise reviews Dave Kress’s Hush
Dave Housley reviews Steven Gillis’s The Consequence of Skating
Paula Koneazny reviews Anna Rabinowitz’s Present Tense
Gabriel Blackwell reviews Evan Lavender-Smith’s Avatar
Anne Derrig reviews Aaron Dietz’s Super
Anna Leahy reviews Cynthia Hogue’s Or Consequence
Tessa Mellas reviews Kate Bernheimer’s Horse, Flower, Bird
John Domini reviews Dawn Raffel’s Further Adventures in the Restless Universe
Stormy Stipe reviews Becky Hagenston’s Strange Weather
John Madera reviews Rikki Ducornet’s Netsuke
Daniel Leary reviews Raymond P. Hammond’s Poetic Amusement
Stephanie Rauschenbusch reviews Susan Sindall’s What’s Left
Peter Selgin reviews Thaddeus Rutkowski’s Haywire
Departments
Page 2—Jeffrey R. Di Leo’s “The Rise of Corporate Literature: Crisis in the Humanities I”
Picketing the Zeitgeist—Clay Reynolds’s “Bad Writing”
From Our Own—George Williams reviews Eric Miles Williamson’s 14 Fictional Positions
Scenes—Tyrant Books
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