The Public World/Syntactically Impermanence

Long one of the most influential of the ""left coast"" language poets, Scalapino (New Time, Forecasts, Apr. 26) adds to her already considerable oeuvre with this, her third book of essays and hybrid poem-plays. While the book is divided into two sections--with eight ""essays"" in the first and three longer ""works"" in the second--this distinction is rendered highly permeable by Sccalapino's resolutely non-normative, or non-academic at least, prose style. An intricate weave of cross-references from text to text heightens the interconnectedness of the book, and allows the nomadic--and dedicated--reader to describe a sort of productive rebus throughout the book. The book is also surprisingly engaging, as Scalapino discusses the early foundations of Zen (Nagarjuna's Seventy Stanzas) and the works of some of her peers, particularly Philip Whalen, Susan Howe and Robert Creeley. In their ""demonstration of no-procedure"" (""Deer Night"" is a ""total rewriting"" of The Tempest and King Lear), the essays indirectly suggest a comparison between the temporal indeterminacy of many Zen texts and Gertrude Stein's notion (from William James) of the ""continuous present,"" and aim to resist easy cultural absorption. Agrammatical title and all, this is critical writing as restless as it is beautiful, in which poetry is boldly proclaimed as constituting ""society's secret interior."" (July)