在1970年代出现并被不同地确定为“语言诗人”的作家，“ l = a = a = n = g = u = a = g = e诗人”和“所谓的语言诗人”通常不太想象自己a movement or school than as a loosely knit community of writers who, with a particular intensity from the mid-1970s to mid-1980s, cultivated their own means of literary production and engaged critically in each others’ work. Although a diversity of formal and thematic concerns characterize the writings of Bruce Andrews, Charles Bernstein, Tina Darragh, Ray Di Palma, Robert Grenier, Carla Harryman, Lyn Hejinian, P. Inman, Bob Perelman, Ron Silliman, Barrett Watten, and Hannah Weiner (just a few of the many Language writers who could be listed), in general, these writers may be said to view lived experience more as a construction of language than as a transparent reflection of it. Language writing extends the tradition of avant-garde poetry exemplified by Donald Allen’s groundbreaking 1960 anthology New American Poetry: 1945–1960, which cast a number of poetic groupings (黑山，，，，纽约学校，，，，BEATS,旧金山文艺复兴时期）绝对反对当时的主流或“学术”经文。语言写作还重新审视了被忽视的现代主义者的工作（格特鲁德·斯坦（Gertrude Stein），路易斯·祖科夫斯基（Louis Zukofsky）和维利米尔·Xlebniko（Velimir Xlebniko）等），并且经常得到俄罗斯形式主义和法国后结构主义语言和意识形态的理论。此外，民权和言论自由运动，以及对美国参与越南战争的抗议，为许多这些作家提供了刺激。
While the Allen anthology delineated the major tendencies in avant-garde poetry for several generations of poets nurtured on modernists, such as Ezra Pound and William Carlos Williams, other tendencies emerged on the 1960s cultural landscape that Allen could not have anticipated. The work of Robert Creeley and Charles Olson became syntactically freer. Ted Berrigan led a second generation of New York school poets by using a variety of collage techniques in his sonnets that picked up where John Ashbery’s “Europe” and Frank O’hara’s “Biotherm” left off. Objectivist poets from the 1930s either returned to writing poetry (George Oppen) or garnered attention after years of neglect (Zukofsky). Jerome Rothenberg’s anthologies reasserted the importance of neglected modernists and poetries from cultures previously dismissed as “primitive”. Something Else Press, founded by Dick Higgins in the wake of the antiart movement Fluxus, included reprints of important works by Stein (The Making of Americans [1966], Geography and Plays [1968]), and Lucy Church Amiably [1969]) in its catalogue. John CAGE and Jackson Mac Low introduced chance-based compositional procedures into music and writing, while performance art, free jazz, and the feminist and黑色艺术运动也开始蓬勃发展。这种兴趣致力于诗歌期刊和小杂志，例如Caterpillar（由Clayton Eshleman编辑），Joglars（由Clark Coolidge编辑，Clark Coolidge和Michael Palmer编辑，他们的直接写作的前代，他们与集体一致性相距甚远），以及0至0的语言写作。9 (edited by Vito Acconci and Bernadette Mayer, whose workshops at the St. Mark’s Poetry Project in the early 1970s were attended by several Language writers). One issue of Toothpick, Lisbon and the Orcas Islands, edited by Andrews and Michael Wiater (fall 1973), contained work by a number of writers who would by the end of the decade be known as “Language poets.”
查尔斯·伯恩斯坦
1971年，格里尼尔（Grenier）和沃顿（Watten）在爱荷华城（Iowa City）发行了这本杂志，这是该国首次创意写作M.F.A.的所在地。节目（爱荷华州作家的讲习班），因此是一个主流诗歌机构，许多前卫的持不同政见者已经过去了。这个1（1971年冬季）的特色是格里尼尔（Grenier）的一系列评论，他的声明“我仇恨言论”标志着扎根于言语和呼吸的投射经文的全面挑战，而问题也包含了最近向最近的敬意已故的奥尔森。格里尼尔（Grenier本身的经验。他还将如此关注的关注应用于批判写作：他对斯坦因在《美国的讲座》中的评论包括她的书中的14句话，克里利的一句话以及他自己的评论中只有五行 - 本质上让她的作品说明了自己。
If Grenier’s review-essays in This 1 assumed a more critical stance than most of that issue’s poetry, language- centered poetries were nonetheless united with the first critical assessment of the writing in “The Dwelling Place: 9 Poets,” a special section Silliman edited in 1973 for Alcheringa. Rothenberg, who coedited this ethnopoetics journal with Dennis Tedlock, first put Silliman in touch with Andrews and Bernstein in the early 1970s. This mini-anthology presented writing by Andrews, Barbara Baracks, Coolidge, Lee DeJasu, DiPalma, Grenier, David Melnick, Silliman himself, and Watten. “What connects these writers,” Silliman states, is “a community of concern for language as the center of whatever activity poems might be” (Silliman “Dwelling,” 118). The exemplary work of Coolidge and Grenier, Silliman argues, “goes after a direct confrontation with language, words,” such that “neither the words nor the processes of the poem . . . point out or away from the poem itself” (118). Citing Creeley’s claim (as Grenier had earlier) that “poems are not referential, or at least not importantly so,” Silliman emphasizes that “words are not, finally, nonreferential”; rather, these writers are interested in “diminish[ing] the reference,” “the creation of non-referring structures,” the “disruption of context,” or “forcing the meanings in upon themselves until they cancel out or melt” (118).
到1977年，马克思主义的政治取向（在此之前的私人讨论和信件中肯定体现在语言本身之前）。史蒂夫·麦卡弗利（Steve McCaffery）在弗兰克·戴维（Frank Davey）的《多伦多日报公开信》（1977年夏季）的论坛上收集了安德鲁斯，伯恩斯坦，西里曼和他本人的论文。For McCaffery the referential aspect of the linguistic sign (that is, that the particular word refers to a particular object or concept) is linked to Karl Marx’s critique of the commodity fetish: The meaning of words becomes a product that language users consume naively or in bad faith. Writing that thwarts conventional meaning-making processes thus critiques such consumption, turning the reader from a passive consumer of meaning into an active producer of meaning. Another of Silliman’s essays from 1977, “Disappearance of the Word, Appearance of the World,” extends this critique of reference to the broader historical development of language use under capitalism.
到这个时候，许多语言作家也围绕着关键诗歌期刊和诗歌印刷机汇聚。Perelman and Watten moved to the San Francisco Bay area by 1974 (bringing with them the magazines Hills and This, respectively), where Watten’s college friend Silliman (who had been editing Tottel’s since 1970) had joined forces with Yale friends Steve Benson and Kit Robinson. The latter’s one-shot magazine Streets and Roads, 1974, contained work by many of these writers. Shortly thereafter Watten began a reading series at the Grand Piano, a café on Haight Street in San Francisco, and Perelman began a series of poet’s talks in his Folsom Street loft. Geoffrey Young and Laura Chester began their press, the Figures, in 1975, and Hejinian began her Tuumba letterpress chapbook series the following year. Each press had nearly 20 titles in its catalogue by the end of 1978, while Watten added nearly a dozen titles under his This Press imprint. Meanwhile a number of writers had arrived in New York City since 1975: Andrews and Lally from a fledgling Baltimore–Washington, D.C., poetry scene, Bernstein (returning) from the West Coast, DiPalma from Iowa City via Ohio. Bernstein began a reading series with Ted Greenwald at Greenwich Village’s Ear Inn in 1978, the same year he and Andrews began the journal that would soon name this burgeoning activity.
l = a = n = g = u = a = g = eran for only four years (1978–81) but served in that time as a clearinghouse of information on writing from both coasts. L=A=N=G=U=A=G=E published no poetry per se. Instead a typical issue might have contained a forum on one or two poets or topics, review pieces on new works that typically eschewed evaluation and became new works in their own right, and bibliographies or excerpts from a wide disciplinary range of recent journals. Although many of the publications reviewed in L=A=N=G=U=A=G=E were hard to obtain even then, the editors offered readers photocopies at cost. With more than 100 contributors, little aesthetic or political consensus resulted. At times lively debates emerged over the value of nonevaluative reviews, the merits of Cage and the artist Marcel Duchamp, and the efficacy of anarchism and Marxism. Nevertheless the magazine gave an appearance of coherence to the group and thus a point of entry for its critics.
The May 1979 issue of the Bay Area newsletter Poetry Flash ran a feature on “L=A=N=G=U=A=G=E Poetry” that, in part, charged the group with being overly theoretical, willfully obscure, dogmatic, and elitist. Silliman often became chief defender of the group—and not just in Poetry Flash. In the preface to “Realism: An Anthology of ‘Language’ Poets” in Ironwood 20 (1982), Silliman recalled the history of language- centered writing, enumerated the various publications and other activities of the group, outlined the changed circumstances of avant-garde poetry since the 1960s and the shortcomings of the New American poetry, and emphasized the importance of readership, audience, and community. Soon other widely circulated journals began publishing collections of Language writing. Bernstein edited a 50-page “Language Sampler” for the Paris Review (issue 86 [1982]) and a 100-page feature of “43 Poets” for boundary 2 (volume 14 [1985/6]), while Joan Retallack contributed an omnibus review of recent Language publications to Parnassus (volume 12 [1984]). These journals appealed to broadly literary and academic readerships and helped Language writing reach new audiences.
西里曼（Silliman）在《美国树》（American Tree）（1986）的序言中扩展了他的铁木防御。在超过600页的页面上，这部最近重印（2001年）选集仍然是语言写作的最全面的主要来源，即使西里曼（Silliman）列表，除了40位作家之外，还有70多名其他作家，“可比价值的选集”可以从中获得其他作家。被绘制（xx）。一年后，道格拉斯·梅塞尔利（Douglas Messerli）为新的方向编辑了简短的“语言”诗歌选集，该集团通过与历史悠久的庞德（Pound）和威廉姆斯（Williams）的历史悠久的前卫贸易出版商通过贸易出版商进行了第一本书长度演讲。这两种选集引发了新的辩论，到目前为止，其中包括包括杰罗姆·麦加恩（Jerome McGann）和玛乔丽·佩洛夫（Marjorie Perloff）在内的重要学术评论家。The mid-1980s also witnessed the appearance of essay collections by Bernstein (Content’s Dream [1986]), Perelman (Writing/Talks [1985]), Silliman (The New Sentence [1987]), and Watten (Total Syntax [1984]).
尽管激烈的小组活动已经消退，但许多语言作家今天仍在继续工作。佩雷尔曼（Perelman）的《诗歌边缘化》已经开始撰写语言写作历史的过程。湾区集团的九名成员（在Watten的阅读场所之后）（在Watten的阅读场所之后）以另一种形式进行了类似的活动。安·维克里（Ann Vickery）证明了与该运动相关的女性面临的语言写作面临的问题有很多不同的问题。伯恩斯坦（Bernstein），佩雷尔曼（Perelman）和瓦滕（Watten）在大学英语系中获得了终身任期职位，刺激了一些（包括西里曼（Silliman）），暗示该小组的原始抗acucademical姿势已受到损害。同时，年轻一代的作家出现了，在某些情况下是在M.F.A.中出现的。系统语言写作被拒绝。尽管他们的作品进一步通过语言写作开辟了一些调查途径，但这些年轻的作家不太倾向于辩论。
参考书目
安德鲁斯，布鲁斯和查尔斯·伯恩斯坦编辑。l = a = n = g = u = a = g = e book。卡宾代尔：南伊利诺伊大学出版社，1984年。
金，埃莉娜。“语言诗”，雷德姆。
梅塞利（Messerli），道格拉斯（Douglas）编辑。“语言”诗歌。纽约：新方向，1987年。
佩雷尔曼，鲍勃。诗歌的边缘化：语言写作和文学史。普林斯顿：普林斯顿大学出版社，1996年。
西利曼，罗恩编辑。“住所：9个诗人。”Alcheringa 1.2（1975）：104–120。
————。在美国树上。1986年。缅因州奥罗诺（Orono）转载：国家诗歌基金会，2001年。
维克里，安。留下性别界限：语言写作的女权家谱。汉诺威，新罕布什尔州：卫斯理大学出版社，2000年。
类别：American Literature，，，，文学批评，，，，俄罗斯乌克兰比分直播，，，，文学，，，，诗歌
理查德·布劳蒂根（Richard Brautigan）的诗歌分析
Imagism in Poetry
旧金山文艺复兴时期
客观主义诗人
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