Language poets
The Language poets (or L=A=N=G=U=A=G=E poets, after the magazine of that name) are an avant-garde group or tendency in United States poetry that emerged in the late 1960s and early 1970s. The poets included: Bernadette Mayer, Leslie Scalapino, Stephen Rodefer, Bruce Andrews, Charles Bernstein, Ron Silliman, Barrett Watten, Lyn Hejinian, Tom Mandel, Bob Perelman, Rae Armantrout, Alan Davies, Carla Harryman, Clark Coolidge, Hannah Weiner, Susan Howe, James Sherry, and Tina Darragh.[1]
"L=A=N=G=U=A=G=E" redirects here. For the magazine, see L=A=N=G=U=A=G=E (magazine).
Language poetry emphasizes the reader's role in bringing meaning out of a work. It plays down expression, seeing the poem as a construction in and of language itself. In more theoretical terms, it challenges the "natural" presence of a speaker behind the text; and emphasizes the disjunction and the materiality of the signifier.[2] These poets favor prose poetry, especially in longer and non-narrative forms.[2]
In developing their poetics, members of the Language school took as their starting point the emphasis on method evident in the modernist tradition, particularly as represented by Gertrude Stein, William Carlos Williams, and Louis Zukofsky. Language poetry is an example of poetic postmodernism. Its immediate postmodern precursors were the New American poets, a term including the New York School, the Objectivist poets, the Black Mountain School, the Beat poets, and the San Francisco Renaissance.
Language poetry has been a controversial topic in American letters from the 1970s to the present. Even the name has been controversial: while a number of poets and critics have used the name of the journal to refer to the group, many others have chosen to use the term, when they used it at all, without the equals signs. The terms "language writing" and "language-centered writing" are also commonly used, and are perhaps the most generic terms. None of the poets associated with the tendency has used the equal signs when referring to the writing collectively. Its use in some critical articles can be taken as an indicator of the author's outsider status.[3] There is also debate about whether or not a writer can be called a language poet without being part of that specific coterie; is it a style or is it a group of people? In his introduction to San Francisco Beat: Talking With the Poets (San Francisco, City Lights, 2001 p.vii) David Meltzer writes: "The language cadres never truly left college. They've always been good students, and now they're excellent teachers. The professionalization and rationalization of poetry in the academy took hold and routinized the teaching and writing of poetry." Later in the volume (p. 128) poet Joanne Kyger comments: "The Language school I felt was a kind of an alienating intellectualization of the energies of poetry. It carried it away from the source. It may have been a housecleaning from confessional poetry, but I found it a sterilization of poetry."
Online writing samples of many language poets can be found on internet sites, including blogs and sites maintained by authors and through gateways such as the Electronic Poetry Center, PennSound, and UbuWeb.