Böcker av Lyn Hejinian

A book-length, syntactically surprising poem divided into many sections.

Lyn Hejinian is considered one of the most important avant-garde poets of the twentieth and twenty-first centuries. Beginning with five poems written from 1963 to 1965, The Proposition collects Hejinian's previously uncollected works from 1963-1983 in one unique volume. The individual early works curated in this volume broaden the existing published collections of Hejinian's works, showing Hejinian's play with form, visual language, and linguistic experiment before the poet's move to project orientated writing practices. With a new Preface by Lyn Hejinian, and five essays by prominent critics in the field, the volume offers both a new collection of Hejinian's poetry and an important scholarly resource for students, scholars, and readers of contemporary avant-garde writing more widely.

Written over the course of two decades, The Book of a Thousand Eyes was begun as an homage to Scheherazade

Saga / Circus brings us two distinctly different long poems

Lyn Hejinian is among the most prominent of contemporary American poets. Her autobiographical poem My Life, a best-selling book of innovative American poetry, has garnered accolades and fans inside and outside academia. The Language of Inquiry is a comprehensive and wonderfully readable collection of her essays, and its publication promises to be an important event for American literary culture. Here, Hejinian brings together twenty essays written over a span of almost twenty-five years. Like many of the Language Poets with whom she has been associated since the mid-1970s, Hejinian turns to language as a social space, a site of both philosophical inquiry and political address.Central to these essays are the themes of time and knowledge, consciousness and perception. Hejinian's interests cover a range of texts and figures. Prominent among them are Sir Francis Bacon and Enlightenment-era explorers; Faust and Sheherazade; Viktor Shklovsky and Russian formalism; William James, Hannah Arendt, and Martin Heidegger. But perhaps the most important literary presence in the essays is Gertrude Stein; the volume includes Hejinian's influential "e;Two Stein Talks,"e; as well as two more recent essays on Stein's writings.

The three works of poetry that constitute Tribunal were written in the current context of seemingly ubiquitous warfare and the specter of unabashed neo-fascism, ethno-nationalism, and--especially in the United States--reassertions of white supremacy. As renowned poet Lyn Hejinian recounts, the inspiration for Tribunal gradually took shape over the course of almost a decade in the collaborative work she has done to fight neoliberal policies that dismantle the public sphere through actions that include privatizing the commons, busting unions, and imposing a corporate, profiteering model on a range of institutions including public higher education. Hejinian explores a broad range of responses to our deeply troubling historical period in Tribunal's three collections. These poems express an emotional scope that includes fury, sadness, and even, at times, something very close to pity for our humanity, perpetually unable to avoid its own penchant for cruelty. Hejinian is the rare poet who can bring to the page a rich, complex rendering of how mutually exclusive emotions can exist simultaneously. We lose safety and surety, but we gain a wider lens on contemporary crises from her sometimes lacerating, sometimes intensely beautiful lyric verse. It's only in such an artistic and emotional landscape that readers, thinkers, artists, workers, and all comrades against injustice can manage to keep inventing, imagining, and hoping. Throughout these crises, the poet returns to language as a meaningful space in which to grapple with a seemingly endless cycle of conflict. While the works can be read as expressions of protest or dissent, they powerfully convey an argument for artmaking itself--and a turn to its affirmation of life.

The Unfollowing is a sequence of elegies, mourning public and personal loss. The poems are composed entirely of non sequiturs, demonstrating a refusal to follow aesthetic proprieties, and a rejection of the logic of mortality and capitalism.