Originally appearing in 1977 and now in its 11th printing, this classic collection of essays by one of the sharpest minds in American contemporary poetic thought remains Roof's best seller to date. It is a collection with rich insight into Silliman's own monumental poetical work and the writing of his peers, a book which both illuminates the concerns of the era in which it was written and radiates outward with a tremendous scope that continues to bear fruit for the contemporary reader.

The Politics of Poetic Form: Poetry And Public Policy is a series of essays from a discussion that occurred at the New School for Social Research in New York. The discussion mines the relationship between poetic composition and political expression. Poetry's relationship to public policy typically has a questionable margin of relation. Not only does this volume posit that poetry is a dynamic medium for the consideration of political ideas, it focuses on the ideological weight specific formal innovations bring to poetry. Some of the writers include Jerome Rothenberg, Ron Silliman, Susan Howe, Nathaniel Mackey and Charles Bernstein.

Charles Bernstein (born April 4, 1950) is an American poet, theorist, editor, and literary scholar. Bernstein holds the Donald T. Regan Chair in the Department of English at the University of Pennsylvania. He is one of the most prominent members of the Language (or L=A=N=G=U=A=G=E) poets. In 2006 he was elected a Fellow of the American Academy of Arts and Sciences. In 2005, Bernstein was awarded the Dean's Award for Innovation in Teaching at the University of Pennsylvania. He has also been a visiting professor at Columbia University, Brown University, and Princeton University.

In We Speak Silent, an opus of the quirky relationships between people and their words, Hannah Weiner becomes the vessel for the emotional spectrum of the human comedy. It is a continuing adventure in language. Hannah Weiner is also the author of numerous books of poetry and prose, including The Code Poems, Clairvoyant Journal, and Little Books/ Indians.

SCATTER MATRIX unfolds like a map, grid tracing multiple possibilites of language and form. Here is a scale, and a sense of time, where the score offers discrete signatures: 3 and 4 line measures upon which words balance or pivot forward. The result is a cumulation, a sense of connection along the diagonal, spins and collisions, slow fades and vaporous dissolves. Abigail Child's work invites productive inquiry and rewards readerly attention, to (the means of) the production of meaning, a late 20th century witness--Erica Hunt.