HEJINIAN MY LIFE PDF

Sometimes into benevolent and other times into ghastly shapes. It speaks of a few of the rather terrible blind. I grew stubborn until blue as the eyes overlooking the bay from the bridge scattered over its bowls through a fading light and backed by the protest of the bright breathless West. Each bit of jello had been molded in tiny doll dishes, each trembling orange bit a different shape, but all otherwise the same. I am urged out rummaging into the sunshine, and the depths increase of blue above. A paper hat afloat on a cone of water.

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Her experimental autobiography My Life, first published in , is the purest example of this poetic project, and established her as one of the foremost members of the Language school of poetry. My Life is composed of titled prose paragraphs, each built of disjunctive sentences that avoid coherence. The text is allusive and often ambiguous. Many of the sentences appear as windows into a life, while others act as brief aphorisms on the making of the book itself. Phrases recur and weave together as motifs throughout, making new meanings through repetition.

Somewhere, in the background, rooms share a patern of small roses. Pretty is as pretty does. In certain families, the meaning of necessity is at one with the sentiment of pre-necessity. The better things were gathered in a pen. The windows were narrowed by white gauze curtains which were never loosened. Here I refer to irrelevance, that rigidity which never intrudes. Hence, repetitions, free from all ambition. Hejinian has continued to update the book over time, allowing it to grow with her, and has released a further volume entitled My Life in the Nineties Shark, In her essay "The Rejection of Closure," published in The Language of Inquiry UC Press, Hejinian explains the reasons for making such an "open text": "The writer relinquishes total control and challenges authority as a principle and control as a motive.

It questions the nature of autobiography and challenges the idea of memoir, reevaluating what it means to call a piece of writing a "life. It is also a hallmark of feminist experimental writing, establishing a new and distinct voice.

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The Rejection of Closure

Email this page Introduction Lyn Hejinian is a poet, translator, and essayist. Language writing generally championed non-narrative forms and collaborative practices, linking both to a progressive political agenda; as a group, language writers also tended to emphasize both the materiality and social dimension of language. Her essays on poetics are important in understanding her work and the aims of the language movement in general. Though the essay does touch upon certain feminist critiques, it is more generally concerned with language, meaning and form.

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Lyn Hejinian

Golar The better things were gathered in a pen. The chapter headings usually reappear embedded in the subsequent chapter text, hinting at mathematical structures or arrangements between chapters or even sentences? Menu Search Donate Shop Join. Apr 10, Christopher rated it it was amazing Shelves: While youthful time may seem all encompassing, remembrance hejnian an older vantage point suddenly breaks apart into neat, ordered decades.

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Email this page Gloria Graham Poet, essayist, translator, and publisher Lyn Hejinian is a founding figure of the Language poetry movement of the s and an influential force in the world of experimental and avant-garde poetics. Her poetry is characterized by an unusual lyricism and descriptive engagement with the everyday. While Language writing is stylistically diverse and, as a movement, difficult to reduce to a particular style, most writers in this group are concerned with writing in non-standardized, often non-narrative forms. Language writing is community-centered and often takes as its subject progressive politics and social theory. Her work differs, however, from the traditional, identity-affirming, political poetry of most left-wing writers as much as it does from main-stream poets. Her work, repeatedly concerned with biography or autobiography, explores the relationship between alternative writing practices and the subjectivity that these genres often obscure. The gap created by a text that moves from subject to subject invites the reader to participate, to bring his or her own reading to the text.

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Her experimental autobiography My Life, first published in , is the purest example of this poetic project, and established her as one of the foremost members of the Language school of poetry. My Life is composed of titled prose paragraphs, each built of disjunctive sentences that avoid coherence. The text is allusive and often ambiguous. Many of the sentences appear as windows into a life, while others act as brief aphorisms on the making of the book itself. Phrases recur and weave together as motifs throughout, making new meanings through repetition. Somewhere, in the background, rooms share a patern of small roses. Pretty is as pretty does.

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