Course Descriptions

Winter 2005

ENG 7300: Topics in 20th-Century American Literature
Historicizing Postmodernism

This seminar will historicize the postmodern condition in a series of examples from postwar American  literature and visual art (parallel to postmodern music, especially jazz) in four distinct historical periods: 1945 to 60; 1960 to 75; 1975 to 1989; and after 1989. Each example—poem, novel, work of visual art, nonaesthetic text—will be seen in theoretical framework from postmodern literary and cultural theory. Topics in the first period will include: the cultural politics of high modernism (Eliot’s Four Quartets), with Fredric Jameson’s A Singular Modernity, and the poetics of immediacy in Early Postmodernism, looking at Abstract Expressionism, Charles Olson’s epic The Maximus Poems, and improvised music in relation to existential philosophy (Heidegger) and Daniel Belgrad’s The Culture of Spontaneity. For the second period, Classic Postmodernism, we will read Thomas Pynchon Gravity’s Rainbow and 1960s culture in the film Berkeley in the Sixties and the poetry of LeRoi Jones/Amiri Baraka, Denise Levertov, Robert Duncan, and Robert Creeley, along with politicized jazz from the late 1960s (Albert Ayler and Archie Shepp). The theoretical component will position Deleuze and Guattari's Anti-Oedipus in relation to Marianne DeKoven's recent Utopia Limited. For High Postmodernism, we will consider site-specific art (Robert Smithson), the poetics of the Language School, and the gendered, consumption-oriented art of Cindy Sherman, Barbara Kruger, and Jennie Holzer, with Jean-François Lyotard, Jacques Derrida, and Jean Baudrillard providing the theory. For Late Postmodernism, we will read three works published after 1990: Barrett Watten's Progress/Under Erasure and Bad History; Kathy Acker's Empire of the Senseless, and Nathaniel Mackey's Atet A.D., ending with discussions on "the end of history," postmodern feminism and globalization theory, and the relation of signification to meaning in postmodern digital culture.

ENG 3140: Survey of American Literature 
Alternate Americas [3 sections]

This introduction to American literature and culture will be about seeing America "otherwise." To begin with, we will structure the framework of the course around four significant moments in the first half of the "distinctive narrative" of American literary and cultural history—from the earliest European contact with the New World and its international politics; to ideas of American community and exclusion, particularly in religious terms; to the formation of the American nation in relation to European ideals; and to the expansion of American influence in the larger world. The four historical "moments" we will focus on, then, will be: encounter, colonial, republican, and global. For each moment, we will choose a "parallel" text from the recent past that explores themes and topics of the American framework that we have established. Some possibilities include: Cormac McCarthy, Blood Meridien; Robert Coover, The Public Burning; Toni Morrison, Sula; and Allen Ginsberg, Indian Journals. There will be two lectures a week, and one-hour class discussions led by a teaching assistant in smaller sections. There will be frequent short essay exams.

Fall 2004

ENG 6800: Poetics Seminar
      [click here for syllabus]

This seminar will investigate new kinds of creative writing between poetry and poetics, focusing on language-centered, conceptual, performance, political, interarts, and media possibilities. Students will encounter a wide range of poetry and poetics, including language-centered and post-language contemporary poetry; writing that addresses social and political concerns from the 1930s and 1960s; writing that uses conceptual strategies and documentary materials; and writing that works with the technical possibilities of new media and performance. A major concern will be the question of "social language" in experimental poetry and poetics; we will be looking for prior examples of the use of language taken from sources outside personal experience and shaping them to creative ends. We will also investigate the recent development of new media and poetics blogs. Our collective exploration of new possibilities in creative writing will thus bridge the gap between poetry/poetics and larger aesthetic, philosophical, and social/cultural issues.

For the class, students will make a portfolio that will include writing in poetry, experimental forms, poetics and criticism, documentary and performance, and new media, and they will post weekly creative and critical responses to a class listserv or blog. Class discussions will take up different kinds of writing each week, beginning with two book-length collections of poetics, Simulcast: Four Experiments in Criticism and my The Constructivist Moment From Material Text to Cultural Poetics, using these to generate writing experiments with poetic vocabularies and source texts. We will next borrow writing strategies from the French OuLiPo (Workshop of Potential Literature) and American Conceptual Art movements, particularly the work of Georges Perec and Robert Smithson, and compare these to the media and documentary poetries of 1930s poets, from Kenneth Fearing, Muriel Rukeyser, Charles Reznikoff, to Melvin B. Tolson. We will then read two contemporary poets who engage digital poetics and operate their own blogs, Catherine Daly and K. Silem Mohammad. Finally, we will return to questions of social address in New York School poet Frank O’Hara and Black Arts founder LeRoi Jones/Amiri Baraka, and end with the performance writing of UK poet cris cheek and Nuyorican poet Edwin Torres.

ENG 3100: Introduction to Literary Studies
      [click here for syllabus]

An introduction to the study of literature for English majors. This course takes up a variety of texts in literature, visual media, and theory. It should be taken at or near the beginning of one’s undergraduate course work in the major, and helps satisfy the 12-credit prerequisite for 5000-level courses. Students will be introduced to literary and critical texts from a wide range of genres, periods, and national literatures, to enhance their ability to engage unfamiliar and challenging texts and to expand their comprehension as readers and their versatility as writers. Past versions of this course have emphasized frequent and abrupt leaps between canonical/exemplary and innovative/experimental texts. 

The Fall 2004 edition will focus on the literary construction of Self and Other in terms of what a series of authors, from Plato to the postmoderns, have called "love." The course is organized around questions of genre, in both traditional and experimental forms, such as: narrativity and the novel, poetry and poetics, the literary essay and critical theory, and film and visual culture. Students will read texts such as: The Symposium; Gustave Flaubert, Madame Bovary; Gertrude Stein, Three Lives; Robert Glück, Margery Kempe; William Wordsworth, poems and selections from The Prelude; Harryette Mullen, Sleeping with the Dictionary; Ralph Waldo Emerson, essays; Jean Baudrillard, The Gulf War Did Not Take Place; Ingmar Bergman, dir., Personna; and David Lynch, dir., Mulholland Drive. Students will also read two short introductions to literary theory and postmodernism, and attend at least one poetry reading in the fall semester.

The course, in short, is an extensive introduction to a range of literary texts and interpretive approaches that would be encountered in our upper-division classes. There will be frequent short written assignments (totaling about 30 pp.), a final, and lots of class discussion. We will use internet resources whenever possible (it is important to get a Wayne internet account and have access to a computer).

Winter 2004

ENG 5460: Topics in Twentieth-Century Literature
      “Poetics of Modernity”

In this course, we will take up the relationship between modernism and modernity, as they developed in specific national cultures, from the Americas to continental Europe to the Soviet Union, in the early twentieth century. The overarching framework for the course will be two questions: What is social modernity? and How does the way modernist literature and art respond to it reveal its nature? Modernity will discussed largely as a question of major cities: Paris, New York, Berlin, Moscow, Los Angeles, Tokyo, and Mexico City; we will chart the rise of modernism in many of these urban zones. Some of the topics to be addressed will be: realism, decadence, and the avant-garde; art and social revolution; urbanism and everyday life; Fordism and mass society; feminism and sexual experiment. Artistic movements to be encountered will be: imagism, Dada, Bloomsbury, Russian futurism and formalism, surrealism, social realism; and early language-centered writing. We will read some part of the following list: James Joyce, Dubliners; Alfred Döblin, Berlin Alexanderplatz; Ezra Pound, Selected Poems; Virginia Woolf, The Waves; Viktor Shklovsky, Third Factory; Fyodor Gladkov, Cement; Gertrude Stein, Tender Buttons and Stanzas in Meditation; John Dos Passos, The Big Money; Mina Loy, The Last Lunar Baedecker; André Breton, The Manifestos of Surrealism; Anais Nin, Little Birds; and Claude McKay, Home to Harlem. We will read shorter selections of other modern poets and also look at modernist visual art and film. There will be a weekly journal, midterm exams, and a ten-page paper as the final for the course.

ENG 3100: Introduction to Literary Studies

In this version of the course, we will focus on topics such narrativity and the novel, poetry and poetics, the literary essay and critical theory, and film and digital literature. The course will be based equally in traditional genres (fiction, poetry, drama, film) and new literary experiments (avant-garde writing, techno and hiphop lyrics, new media writing). In this class, you will encounter texts such as: Charles Dickens, Little Dorrit; David Wojnarowicz, Close to the Knives; John Milton, Paradise Lost; Carla Harryman, Gardener of Stars; Ralph Waldo Emerson, essays; Slavoj Zizek, Welcome to the Desert of the Real; Billy Wilder (director), Sunset Boulevard; and David Lynch (director), Mulholland Drive; and contemporary poetry.

Fall 2003

ENG 7300: Topics in Twentieth-Century Literature
      “Poetics of Democracy”

The word “democracy” has recently been used in questionable ways, generally as a kind of placeholder for what Americans possess and other people lack. But what is real democracy, and how might it be pursued? This seminar will develop a theory of democracy based on founding literary and cultural documents from the Enlightenment to the present, and show how poetry from the romantics to the postmoderns has become a site for reflection on and advocacy of democracy in its unfulfilled potential. In so doing, the class will survey a range of positions that address the relation of modern subjectivity to democratic politics, as we investigate the convergence of democratic politics and poetic form—from the French Revolution, to the formation of modern democracies, to our present global moment. Theoretical frameworks will be constructed by means of a series of oppositions—between ideals of civil society and general will in Rousseau and the critique of hegemonic power in Ernesto Laclau and Chantal Mouffe; between Jürgen Habermas’s public sphere and de Tocqueville’s observations of the deformed result in America; between identitarian notions of citizenship and their radical psychoanalytic critique in Slavoj Zizek. To show how poetry has been a site for thinking through the possibilities of democracy, we will begin with a reading of Wordsworth’s The Prelude and the political debates in and around that work, and look for similar critiques of Whitman’s Leaves of Grass and later writings. In modernism, we will read the claims for national democracy in William Carlos Williams’s Paterson and Hart Crane’s The Bridge, and discuss the ways modernism also contests hegemonic expression in its more radical forms, from experimental feminists such as Gertrude Stein and Mina Loy to the poets of the Harlem Renaissance and Popular Front. In the postwar period, we will look at the politics of the New American Poetry in relation to mainstream liberals such as Robert Lowell; discuss the impact of the 1960s on expressivist and nonidentitarian poetics (from the Black Arts Movement to the Language School); and look at the political possibilities of digital literature on our way to the multinational, global present. I hope to devise a nonteleological framework for framing arguments for each of these historical periods. Readings in theory will address orality and print culture, the public sphere, nationality and political participation, identity and nonidentity, and global democracy. In the course of the seminar, we will try to answer two fundamental questions: “What is democracy?” and “How does poetry pursue it?” as a specific concern of the genre.

ENG 3140: Survey of American Literature
      “Global America and Its Discontents”

This course will address the ways that American literature and culture were formed in relation to their global contexts, from the earliest European contact with the New World and its international politics, to the formation of the American nation in relation to European ideals; to the expansion of American influence in the twentieth century; to the present possibility of American geopolitical domination over a McWorld. The four historical “moments” we will focus on, then, will be: colonial, republican, industrial, and global. Representative texts addressed to each moment may include: 1) Native American narratives; the literature of European “discovery”; William Bradford, Of Plymouth Plantation and other puritan writings; 2) writings of the early Republic; essays by Margaret Fuller and Ralph Waldo Emerson; Herman Melville’s Moby-Dick and “Benito Cereno”; Olaudah Equiano’s slave narrative; and Walt Whitman’s poems; 3) John Dos Passos’s 1917; Gertrude Stein’s The Autobiography of Alice B. Toklas; and Langston Hughes’s The Big Sea; and 4) the relation of Cold War politics to the question of the “other,” as in Paul Bowles’s stories of the Arab world; Maxine Hong Kingston’s The Woman Warrior; and Richard Rodriguez’s Days of Obligation: An Argument with My Mexican Father. Classes will alternate between lecture and discussion, with frequent fact-based quizzes and a final paper.

Winter 2003

English 8050: Seminar in Critical Problems
        "Reading Strategies for Difficult Texts"

“How to read” is the question of methodology for this seminar. In it, we will employ a series of reading strategies to elucidate the “difficult text.” What is a “difficult text”? It could be a work of high modernism that foregrounds structural complexity, or it could be Ground Zero. It could be a work that presents violence or sexuality in a way that is, in fact, hard to deal with. The difficult text could be generically unstable, existing in multiple versions and standing in need of an editorial theory to decide between alternatives. It could demand a choice between interpretive approaches that produce mutually exclusive readings. Race, class, and gender create additional difficulties for reading as they introduce competing interpretations. Reading the difficult text may involve recovering a difficult or unavailable history, or it may depend on the nature of its technological mediation. Already the “difficult text” may mean: modernism and the avant-garde; texts foregrounding violence or sexuality; texts situated between competing theoretical approaches or interpretive communities: texts that are generically unstable or editorially undecided; texts that depend on an unavailable or painful historical context; and texts demanding an account of new technologies.

The seminar will develop a series of case studies in reading strategies for difficult texts. While a history of reading strategies—from close reading to reader-response criticism to institutional theories to cultural studies—will be invoked, our goal will be to survey and apply a number of more recently developed strategies for reading, including new approaches to radical form in modernism and the avant-garde; the representation of sexuality and violence; material textuality and bibliographic history; historicism at the limits of historical knowledge (unrecoverable history; trauma); philosophically based and psychoanalytic readings; and social philology/cultural poetics. The seminar will also stress differences in genre, so that the problems of reading novels, lyric and epic poetry, film, and nonliterary texts will be distinguished. Some texts to be used as examples may include: Talan Memmott’s new media work Lexia to Perplexia; poetry by Laura (Riding) Jackson and Paul Celan; prose by Kathy Acker and LeRoi Jones/Amiri Baraka; graphic texts by Emily Dickinson and Robert Grenier; the epic poem “A” by Louis Zukofsky;  non­literary texts read as literature (radio speeches); photography and drawings by Nobuyoshi Araki and Yoshitomo Nara; and cult films such as David Cronenberg’s Crash. After this seminar, your motto will be: “Send me the difficult texts!”

English 2050: Honor English II
        "Literature and Everyday Life"

Everyday life may seem an easy thing to describe, but it is in fact quite a challenging problem. How does literature represent the experience of life as it is lived every day, and say something meaningful about it? This class will focus a series of reading and writing assignments on the relation between literature and everyday life, taking as our guide a number of theoretical attempts to describe it, from Sigmund Freud and Walter Benjamin to Henri Lefebvre and Michel De Certeau. We will read a series of key literary works of the twentieth century in our quest for everyday life, as for example: James Joyce, Dubliners; Alfred Döblin, Alexanderplatz Berlin, the poetry of William Carlos Williams, Langston Hughes, and Gertrude Stein; Ann Petry, The Street; Georges Perec, Species of Spaces; the poetry of the Beat Generation and the New York School; Ron Silliman, Tjanting; Edwin Torres, The All-Union Day of the Shock Worker; films such as The Dead, Man with the Movie Camera, The Bicycle Thief, and Memento.

Fall 2002

English 5090: Topics in Literary and Cultural Studies
        "Word and Image in Modernist Aesthetics"

This course will investigate modernist and postmodern literature and art at the intersection of word and image. We will begin with basic principles of modern aesthetics and discuss classical accounts of the relation between visual and verbal representation. There will be weekly readings in continental aesthetics, from Kant, Hegel, Nietzsche, and Marx to poststructuralists and feminists.  We will chart the emergence of modernism in French painting and poetry in the nineteenth century, consider how literature responded to the development of a painterly aesthetics, and discuss as a parallel development the influence of visual technology such as photography on the nature of visual representation. Developing the "anti-optical" skepticism of the avant-garde, will focus on a series of modernist moments in the early twentieth century: Dada poetry, performance, and typography; the conceptual aesthetics of Marcel Duchamp; and the surrealist poetics of the image in André Breton and others. Last, we will discuss the development of abstract modernism in literature and art in America, culminating in the purported “triumph” of abstraction in New York School painting and poetry. We will look at the Conceptual movement of the 1960s as a reaction to this moment. 

With this historical framework in place, in the final six weeks the course will move between a number of topics, including: word and image in conceptual art (Joseph Kosuth, Robert Smithson, Adrian Piper); literature that incorporates visual images (Allen Ginsberg’s Indian Journals, W. G. Sebald’s The Rings of Saturn); postmodern pastiche ( the visual and verbal art of Andy Warhol; the collages of Romare Bearden and Black Arts poetry); the postmodern language of Bob Perelman and Jenny Holzer); sexuality and eroticism in Cindy Sherman, Araki, and Leslie Scalapino; and the textual turn in the Language School of poetry and the focus on the "material text." We will continue our weekly readings in continental aesthetics, and focus on several featured artists in each class. 

English 3100: Introduction to Literary Studies

See current course description (above). 

Fall 2001

English 7050, Topics in Literary Theory
        "The New Modernist Studies"

This seminar will address questions such as: What is modernism; what was modernism; and what will it be? How has recent scholarship changed our understanding of literary modernism in bringing forward new texts to read? We will begin by identifying some "old" approaches to modernism, after Baudelaire and Poe, and will then take up a series of revisionist accounts of works from the American 1920s: T. S. Eliot's The Waste Land; William Carlos Williams's Spring & All; and Gertrude Stein's Geography and Plays, using them to contrast "textualist" (Jerome McGann, Michael Davidson) and "culturalist" (Michael North, Rachel Blau DuPlessis) critical approaches. The next four weeks will be spent on James Joyce's Ulysses and a range of recent critical and historical discussions; we will focus on Joyce and the "national" and "colonial" status of Ireland; the text's construction of ethnicity and gender; and the historical reception of the work, from its seizure by U.S. customs as obscene to ways it was used in debates on the politics of modernism in the 1930s and later. At this point, we will pause to discuss research methodology, focusing on the contrast between the "textualist" and "culturalist" approaches to scholarship (and looking forward to the seminar paper); we will look at recent articles published in the journal Modernism/Modernity to see where the field of "new modernist studies" is going. The last four weeks will be spent on revisionist topics in modernist studies: the theory of the avant-garde; the relation of the Harlem Renaissance to modernism; the representation of gender and sexuality in modernist texts; and the turn from "late modernism" to "postmodernism." Course requirements will be participation in an on-line listserv; an oral presentation; and about 20 pp. of writing. You might want to begin reading Ulysses over the summer, and why not? It's something you've always wanted to do.

English 5450, Modern American Literature
        "Postwar American Literature and Culture: Aesthetic Innovation and Cultural Politics"

The course will focus on innovative aesthetic practices and oppositional countercultures as responses to American postwar society. Rather than identifying the normative frameworks for American postwar society—the Cold War; the McCarthy period; the rise of mass consumer culture; TV; the nuclear family; the decline of urban centers; the rise of the Civil Rights and Anti-War movements; 1980s economism; and the imagined “end of ideology” in the 1990s—and then reading aesthetic and cultural practice in opposition to them, we will attempt to read cultural contexts and political motivations more directly from works of literature and art themselves. For the 1950s, we will consider what Daniel Belgrad has called the “culture of spontaneity”: linked developments in abstract painting, jazz, and the New American poetry and Beat movement. The emergence of a counterculture in New York and San Francisco in the 1950s leads directly to the wider movement of the 1960s: in that decade, we will focus on the Civil Rights and Antiwar movements and see how writers participated in or responded to them; we will particularly address the crisis of the university. For the period from the mid 70s to the present, we will identify responses to Reaganism, economism, and increased social rationality of the 1980s; and the end of the Cold War, the rise of globalization, and an emerging multiculture in the 1990s in the work of poets, fiction writers, and visual artists of those decades. We will use a number of films as benchmarks for postwar culture, for example: Atomic Café; Point of Order; Berkeley in the Sixties, Zabriskie Point, Wall Street, and The Matrix. We will end with a discussion of new media culture and the Internet as contact zone between mass consumer culture and oppositional communities.

English 3140, Survey of American Literature
        "Social Spaces of American Literature and Culture"

This course provides an introduction to American literary history in terms of the way that “social space” and the politics of nation and region are represented. We will focus on the origins and development of a national literature, from the first European settlers and the displacement of native cultures to the division of the nation by slavery and the Civil War. We will also read several twentieth-century novels that define new spaces of American culture.  

Winter 2000

English 5090, Topics in Literary and Cultural Studies
        "Foucault, Literature, and Culture"

We will read through the major works of Foucault, his literary influences, his biography, his critical reception, and his importance for literary and cultural theory, from the New Historicism to Queer Theory. We will begin by examining Foucault’s debt to the literary avant-garde, particularly Raymond Roussel, Antonin Artaud, and Georges Bataille in the context of the intellectual climate in 1960s France. We will examine his debts to Sade as a philosophical influence; to structuralism for the concept of "discourse," and to Nietzsche for the concept of "genealogy." We will look at the influence of the events of May 1968 on the development of Foucault’s thought, and his important rewriting of the Marxist and psychoanalytic traditions. Finally, we will examine Foucault’s contributions to ethics and the history of sexuality, its reception in feminism and its importance for the work of Judith Butler. Works to be read in their entirety will include: Madness and Civilization, The Birth of the Clinic, The Order of Things, The Archaeology of Knowledge, Discipline and Punish, and The History of Sexuality, vol. 1, and shorter pieces. We will read four creative prose texts along with Foucault’s work, look at visual artists who have been influenced by Foucault, and refer to Foucault’s biography by Didier Eribon as we go along.

English 3140, Survey of American Literature

See current course description (above).

Fall 1999

English 7050, Topics in Literary Theory
        "Modernity and the Crisis of the Subject"

How do works of literature and art address the often-described crisis of the subject in the modern era? We will read a number of key texts in literary theory, and a series of representative literary works, as a part of an overarching critique of the central problem of modernity: the relation of the transformative and/or destructive effects of capitalist social relations to the integrity of the subject and the necessity for considering social modes of "subject formation." We will begin with Walter Benjamin's Moscow Diary, and then go on to read Susan Buck-Morss's reconstruction of Benjamin's "Passagen-Werk" as an example of a critical response to the crisis of the subject in modernity. Other critics to be read will include: Rita Felski, The Gender of Modernity; Michel Foucault, Discipline and Punish; Teresa Brennan, History After Lacan; Fredric Jameson, Postmodernism; or, the Cultural Logic of Late Capitalism; Gayatri Spivak, Critique of Postcolonial Reason, and Felix Guattari, Chaosmosis, as well as chapters from Peter Osborne, The Politics of Time; and Edward W. Soja, Postmodern Geographies. The theoretical readings will be opened up by discussions of literary texts such as Louis Zukofsky, "A"; Henry Miller, Tropic of Cancer; Hubert Selby, Jr., Last Exit to Brooklyn; Oscar Wilde, Salomé; LeRoi Jones/Amiri Baraka, The System of Dante's Hell; Bob Perelman, Primer; Theresa Hak Kyung Cha, Dictee; and Carla Harryman, The Words: After Carl Sandburg's Rootabaga Stories and Jean-Paul Sartre.

English 5460, Topics in American Literature
        "Twentieth-Century American Poetry and Poetics"

This course will cover a wide range of American modernist and postmodern poetry and poetics, seen in terms of important literary movements, schools, groupings, and tendencies. We will contrast writers from a number of literary movements, from modernist poets of the first half of the twentieth century to "postmodern" poets associated with the anthology The New American Poetry, as well as more recent schools (the Language School, the Nuyorican Poets). To be featured from the first half of the twentieth century: populists (Carl Sandburg and Vachel Lindsay), imagists (H.D., Ezra Pound, Amy Lowell), high modernists (T. S. Eliot, William Carlos Williams, Marianne Moore, Hart Crane, Wallace Stevens), the Fugitives (Allen Tate, Laura Riding), and experimental women modernists of the "Revolution of the Word" (Gertrude Stein, Mina Loy, Elsa von Freitag-Loringhoven). Political alternatives to the High Modernists will be represented by the poets of the Harlem Renaissance (Langston Hughes, Claude McKay, Jean Countee Cullen) and of the Popular Front (Louis Zukofsky, Kenneth Fearing, Charles Reznikoff, Muriel Rukeyser). The development of postmodern poetry will be followed through the work of the Black Mountain School (Charles Olson and Robert Creeley); the Beat Generation (Allen Ginsberg); the New York School (John Ashbery, Frank O'Hara, Ted Berrigan); the Black Arts Movement (LeRoi Jones/Amiri Baraka); the Language School (Clark Coolidge, Ron Silliman, Lyn Hejinian, Bruce Andrews, and many others); and contemporary performance-based poetry. Readings will be taken from handouts and anthologies such as Jerome Rothenberg's Revolution of the Word and Paul Hoover's Postmodern American Poetry and from single-author collections. We will be reading primary texts along with as much contextual material as possible (reproductions of first editions and journal publications; letters; visual art associated with poetry, such as cubism, Dada, and the New York School of painters; statements on poetics.)

[Home Page]