This piece of Wahrheit und Dichtung by Melchior Kirchhofer has pencil notes that might have been written by Josef Eiselein.

The Glosas Emilianenses are glosses added to this Latin codex that are considered the oldest surviving phrases written in the Castilian language.

A page from an illuminated manuscript with painted marginalia

Marginalia (or apostil) are scribbles, comments, and illuminations in the margins of a book.

Biblical manuscripts[link]

Biblical manuscripts have liturgical notes at the margin, for liturgical use. Numbers of texts' divisions are given at the margin (κεφαλαια, Ammonian Sectins, Eusebian Canons). There are some scholia, corrections, and other notes usually made later by hand in the margin.

History[link]

The scholia on classical manuscripts are the earliest known form of marginalia. Fermat's last theorem is the most famous mathematical marginal note.^[1]

The first recorded use of the word marginalia is in 1819 in Blackwood's Magazine.^[2] From 1845 to 1849 Edgar Allan Poe titled some of his reflections and fragmentary material "Marginalia."^[3] Five volumes of Samuel T. Coleridge's marginalia have been published.

Some famous marginalia were serious works, or drafts thereof, written in margins due to scarcity of paper. Voltaire composed in book margins while in prison, and Sir Walter Raleigh wrote a personal statement in margins just before his execution.

Beginning in the 1990s, attempts have been made to design and market e-book devices permitting a limited form of marginalia.

Value[link]

Marginalia can add or detract from the value of an association copy of a book, depending on the author of the marginalia and on the book.

Catherine C. Marshall, doing research on the future of the user interface, has studied the phenomenon of user annotation of texts. She discovered that in several university departments, knowledgeable students would scour the piles of textbooks at used book dealers for consistently annotated copies. The students had a good appreciation for their predecessors' distillation of knowledge.^[4][5][6]

Writers known for their marginalia[link]

• Samuel T. Coleridge^[7]
• David Markson^[8]
• Herman Melville^[9]
• Sylvia Plath^[10]
• Mark Twain^[11]
• David Foster Wallace^[12]
• Pierre de Fermat

Notes[link]

References[link]

• Jackson, H. J. Marginalia: Readers writing in Books, New Haven: Yale University Press, 2001. ISBN 0-300-08816-7 N.B: one of the first books on this subject
• Coleridge, S. T. Marginalia, Ed. George Walley and H. J. Jackson. The Collected works of Samuel Taylor Coleridge 12. Bolligen Series 75. 5 vols. Princeton University Press, 1980-.
• Alston, R. C. Books with Manuscript: A short title catalogue of Books with Manuscript Notes in the British Library. London: British Library, 1994.

External links[link]

• Marginalia and other crimes from Cambridge University Library
• Teachers’ Uses of Students’ Digital Annotations: Implications for the Formative Assessment of Reading Comprehension, Barry Brahier, 2006 (University of Minnesota)
• Marginalia: Six Personal Libraries (Thomas Carlyle, Ralph Waldo Emerson, William James, John Keats, Herman Melville, Hester Thrale from Harvard University Library

Billy Collins
Collins at the Calabash Literary Festival in St. Elizabeth's, Jamaica, May 2010.
Born	(1941-03-22) 22 March 1941 (age 71) New York City, New York, United States
Occupation	Professor, Poet, Author, Anthologist
Nationality	American

Billy Collins (born William James Collins March 22, 1941) is an American poet, appointed as Poet Laureate of the United States from 2001 to 2003.^[1] He is a Distinguished Professor at Lehman College of the City University of New York and is the Senior Distinguished Fellow of the Winter Park Institute, Florida. Collins was recognized as a Literary Lion of the New York Public Library (1992) and selected as the New York State Poet for 2004-2006.

Biography[link]

Early years[link]

Collins was born in New York City to William and Katherine Collins. Katherine Collins was a nurse who stopped working to raise the couple's only child. Mrs. Collins had the ability to recite verses on almost any subject, which she often did, and cultivated in her young son the love of words, both written and spoken. Billy Collins attended Archbishop Stepinac High School in White Plains and received a B.A. (English) from the College of the Holy Cross in 1963; he received his M.A. and Ph.D in English from the University of California, Riverside. His professors at Riverside included Victorian scholar and poet Robert Peters.^[2][3] In 1975 Collins founded The Mid Atlantic Review with his good friend and co-editor, Michael Shannon.^[4]

Career[link]

Collins in La Jolla, San Diego, 2008

Collins is a Distinguished Professor of English at Lehman College in the Bronx, where he joined the faculty in 1968 and has taught for over thirty years. Additionally, he is a founding Advisory Board member of the CUNY Institute for Irish-American Studies at Lehman College. He also has taught and served as a visiting writer at Sarah Lawrence College in Bronxville, New York as well as teaching workshops across the U.S. and in Ireland. Collins is a member of the faculty of SUNY Stonybrook Southampton College, where he teaches poetry workshops. Collins was named U.S. Poet Laureate in 2001 and held the title until 2003. Collins served as Poet Laureate for the State of New York from 2004 until 2006. Collins has been named Senior Distinguished Fellow at the Winter Park Institute in Winter Park, Florida, an affiliate of Rollins College. He is on the editorial board at The Alaska Quarterly Review, not actively involved since 2000.^[5][6] He is on the advisory board at the Southern Review, and is similarly named in other journals.

As U.S. Poet Laureate, Collins read his poem The Names at a special joint session of the United States Congress on September 6, 2002, held to remember the victims of the 9/11 attacks.^[7] Though, unlike their British counterparts, U.S. poets laureate are not asked or expected to write occasional poetry, Collins was asked by the Librarian of Congress to write a poem especially for that event. Collins initially refused to read "The Names" in public, though he has read it two times in public since 2002. He vows not to include it in any of his books, refusing to capitalize in any way on the 9/11 attacks. However, "The Names" was included in the The Poets Laureate Anthology, put out by the Library of Congress, for which Collins wrote the foreword. The only published version of "The Names," it contains a number of regrettable typographical errors. As Poet Laureate, Collins instituted the program Poetry 180 for high schools. Collins chose 180 poems for the program and the accompanying book, Poetry 180: A Turning Back to Poetry-- one for each day of the school year. Collins edited a second anthology, 180 More Extraordinary Poems for Every Day to refresh the supply of available poems. The program is online, and poems are available there for no charge.^[8]

In 1997, Collins recorded The Best Cigarette, a collection of 34 of his poems, that would become a bestseller. In 2005, the CD was re-released under a Creative Commons license, allowing free, non-commercial distribution of the recording. He also recorded two of his poems for the audio versions of Garrison Keillor's collection Good Poems (2002). Collins has appeared on Keillor's radio show, A Prairie Home Companion, numerous times, where he gained a portion of his large following. In 2005, Collins recorded Billy Collins Live: A Performance ^[9] in New York City. Collins was introduced by his friend, actor Bill Murray.

Billy Collins has been called "The most popular poet in America" by the New York Times.^[10] When he moved from the University of Pittsburgh Press to Random House, the advance he received shocked the poetry world — a six-figure sum for a three-book deal, virtually unheard of in poetry.^[11] The deal secured for Collins through his literary agent, Chris Calhoun of Sterling Lord Literistic, with the editor Daniel Menaker, remained the talk of the poetry world, and indeed the literary world, for quite some time.^[12]

Over the years, the U.S. magazine Poetry has awarded Collins several prizes in recognition of poems they publish. During the 1990s, Collins won five such prizes. The magazine also selected him as "Poet of the Year" in 1994. In 2005 Collins was the first annual recipient of its Mark Twain Prize for Humor in Poetry. He has received fellowships from the National Endowment for the Arts, the New York Foundation for the Arts and in 1993, from the John Simon Guggenheim Foundation.

One of his most critically acclaimed works, "Fishing on the Susquehanna in July" ^[13] has been added to the preserved works of the United States Native American literary registry as being deemed a culturally significant poem.

Awards and honors[link]

• 1983, Fellowship from the New York Foundation for the Arts
• 1986, Fellowship from the National Endowment for the Arts
• 1991, National Poetry Series publication prize - winner, Questions About Angels
• 1992, New York Public Library 'Literary Lion'
• 1993, Fellowship from the John Simon Guggenheim Foundation
• 1994, Poetry Magazine - Poet of the Year
• 1995, Lenore Marshall Poetry Prize, Academy of American Poets - shortlist, The Art of Drowning
• 2001, American Irish Historical Society Cultural Award
• 2001–2003, US Poet Laureate
• 2004–2006, New York State Poet Laureate^[14]
• 2005, Mark Twain Award for Humor in Poetry

Poetry collections[link]

• Pokerface (1977)
• Video Poems (1980)
• The Apple That Astonished Paris. University of Arkansas Press. 1988. ISBN 978-1-55728-024-4. http://books.google.com/books?id=LcwWbWcOGQAC&printsec=frontcover&dq=billy+collins#v=onepage&q&f=false. ; University of Arkansas Press, 2006, ISBN 978-1-55728-823-3
• Questions About Angels (1991)
• The Art of Drowning University of Pittsburgh Press, 1995, ISBN 978-0-8229-5567-2
• Picnic, Lightning (1998)
• Taking Off Emily Dickinson’s Clothes (2000)
• Sailing Alone Around the Room: New and Selected Poems. Random House. 2001. http://books.google.com/books?id=_uxrn_B6nQIC&printsec=frontcover&dq=billy+collins#v=onepage&q&f=false. ; reprint Random House, Inc., 2002, ISBN 978-0-375-75519-4
• Nine Horses. Random House, Inc.. 2002. ISBN 978-1-58836-278-0. http://books.google.com/books?id=6MYci63f-yoC&printsec=frontcover&dq=billy+collins#v=onepage&q&f=false. 
• The Trouble with Poetry. 2005. http://books.google.com/books?id=dtMhdlM_q48C&printsec=frontcover&dq=billy+collins#v=onepage&q&f=false. ; reprint Random House, Inc., 2007, ISBN 978-0-375-75521-7
• She Was Just Seventeen (2006)
• Ballistics. 2008. ISBN 978-1-4000-6491-5. http://books.google.com/books?id=lTiSa7Oxvd8C&printsec=frontcover&dq=billy+collins#v=onepage&q&f=false. 
• "Horoscopes for the Dead" (2011) ISBN 978-1-4000-6492-2

Editor[link]

• Billy Collins, ed. (2003). Poetry 180. Random House, Inc.. ISBN 978-0-8129-6887-3. http://books.google.com/books?id=ssxHjRNX9-QC&printsec=frontcover&dq=billy+collins#v=onepage&q&f=false. 
• Billy Collins, ed. (2005). 180 More Extraordinary Poems for Every Day. Random House, Inc.. ISBN 978-0-8129-7296-2. http://books.google.com/books?id=LBD3cfm2_dcC&printsec=frontcover&dq=billy+collins#v=onepage&q&f=false. 
• Billy Collins, ed. (2010). Bright Wings: An Illustrated Anthology of Poems About Birds. Illustrator David Sibley. Columbia University Press. ISBN 978-0-231-15084-2. 

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Billy Collins

• Collins online resources at the Library of Congress
• Billy Collins profile at PoetryFoundation.org
• Billy Collins profile at poets.org
• George Plimpton (Fall 2001). "Billy Collins, The Art of Poetry No. 83". Paris Review. http://www.theparisreview.org/interviews/482/the-art-of-poetry-no-83-billy-collins. 

Lydia Davis
Occupation	writer
Nationality	American
Period	1980s-
Genres	short story, novel, essay
Influences Beckett, Proust, Russell Edson
Influenced Dave Eggers, Deb Olin Unferth, Sarah Manguso

Lydia Davis (born 1947) is a contemporary American writer noted for her short stories. Davis is also a French translator, and has produced several new translations of French literary classics, including Proust's Swann’s Way and Flaubert's Madame Bovary.

The Collected Stories of Lydia Davis was published as a single volume in 2010.

Life[link]

She is the daughter of Robert Gorham Davis and Hope Hale Davis. From 1974 to 1978 Davis was married to Paul Auster, with whom she has a son, Daniel Auster. Davis is currently married to artist Alan Cote, with whom she has a son, Theo Cote. She is a professor of creative writing at University at Albany, SUNY and Lillian Vernon Distinguished Writer-in-Residence at New York University.

She has published six collections of short stories, including The Thirteenth Woman and Other Stories (1976) and Break It Down (1986). Her most recent collection was Varieties of Disturbance, published by Farrar, Straus and Giroux in 2007. "The Collected Stories of Lydia Davis", published by Farrar, Straus and Giroux in 2009, contains all her stories to date.

Her stories are acclaimed for their brevity and humour. Many are only one or two sentences. Some of her stories are considered poetry or somewhere between philosophy, poetry and short story. Three contemporary authors share the distinction of appearing in both The Best American Short Stories and The Best American Poetry series: Lydia Davis, Stuart Dybek, and Alice Fulton.

Davis has also translated Proust, Flaubert, Blanchot, Foucault, Michel Leiris, Pierre Jean Jouve and other French writers.

In October 2003 Davis received a MacArthur Fellowship. She was elected a Fellow of the American Academy of Arts and Sciences in 2005.^[1]

Reception and influence[link]

Davis has been described as "the master of a literary form largely of her own invention."^[2] Author Carmela Ciuraro has written of Davis's stories: "Anyone hung up on the conventional (and often predictable) beginning-middle-end narrative format may be disappointed by the wild peregrinations found here. Yet these stories are endearing and rich in their own way, and can be counted on without exception to offer the element of surprise."^[3] Author Tao Lin has repeatedly cited her work as inspiration for his own work, specifically her first novel as inspiration for his second novel.^[4][5]

Awards[link]

• St. Martin, a short story that first appeared in Grand Street, was included in The Best American Short Stories 1997.
• 2003 MacArthur Fellows Program
• 2007 National Book Award Fiction Finalist, for Varieties of Disturbance: Stories
• PEN/Hemingway Award Finalist, for Break It Down

Selected works[link]

• The Thirteenth Woman and Other Stories, Living Hand, (1976)
• Sketches for a Life of Wassilly. Station Hill Press. 1981. ISBN 978-0-930794-45-3. 
• Story and Other Stories. The Figures. 1985. ISBN 978-0-935724-17-2. 
• Break It Down. Farrar Straus Giroux. 1986. ISBN 0-374-11653-9. 
• The End of the Story. Farrar Straus & Giroux. 1994. ISBN 978-0-374-14831-7.  (novel)
• Almost No Memory. Farrar Straus & Giroux. 1997. ISBN 978-0-374-10281-4. 
• Samuel Johnson Is Indignant. McSweeney's. 2001. ISBN 978-0-9703355-9-3. 
• Varieties of Disturbance. Farrar Straus and Giroux. May 15, 2007. ISBN 978-0-374-28173-1. 
• The Collected Stories of Lydia Davis. Farrar, Straus and Giroux. 2009. ISBN 978-0-374-27060-5. 

Anthologies[link]

• Charles Wright, David Lehman, ed. (2008). "Men". The Best American Poetry 2008. Simon and Schuster. ISBN 978-0-7432-9975-6. http://books.google.com/?id=xIQtFKnRcpcC&pg=PT48&dq=Lydia+Davis&q=Lydia%20Davis. 
• Robert Hass, David Lehman, ed. (2001). "A Mown Lawn". The Best American Poetry 2001. Simon and Schuster. ISBN 978-0-7432-0384-5. http://books.google.com/?id=yeyJ_UMIlyYC&pg=PA67&dq=Lydia+Davis&q=Lydia%20Davis. 
• E. Annie Proulx, Katrina Kenison, ed. (1997). "St. Martin". The Best American Short Stories 1997. Houghton Mifflin. ISBN 978-0-395-79866-9. 
• Bill Henderson, ed. (1989). The Pushcart prize: best of the small presses. Pushcart Press. ISBN 978-0-916366-58-2. 

Translations[link]

• Marcel Proust (2004). Lydia Davis, Christopher Prendergast. ed. Swann's Way. Translator Lydia Davis. Penguin Books. ISBN 978-0-14-243796-4. 
• Vivant Denon (2009). Peter Brooks. ed. No Tomorrow. Translator Lydia Davis. New York Review of Books. ISBN 978-1-59017-326-8. 
• Gustav Flaubert (2010). Lydia Davis. ed. Madame Bovary. Translator Lydia Davis. Viking Adult. ISBN 978-0-670-02207-6. 

Reviews[link]

Vivant Denon's No Tomorrow is one of the masterpieces of eighteenth-century French libertine literature, a book to set beside Laclos's Les Liaisons dangereuses, except that where Laclos's icy novel is one of hellish depravity, Denon's ravishing novella is a paradisal diversion.^[6]

References[link]

External links[link]

• The Believer Interview
• Essays, Stories, Interviews and readings
• Samuel Johnson is indignant - TMO meets Lydia Davis
• Interview @ BOMB
• "Q&A with Lydia Davis", The Boston Globe, Kate Bolick, April 29, 2007
• "Mothers Who Think", Salon, June 1997
• "2007 National Book Award Fiction Finalist Interview With Lydia Davis", National Book Foundation
• "Structure Is Structure", Poetry Foundation
• "A Conversation with Lydia Davis", Web Del Sol
• Audio-files @ PENNsound listen to Lydia Davis read from her work
• Author Page at Internationales Literatufestival Berlin Davis was a Guest of the ILB ( Internationales Literatufestival Berlin / Germany ) in 2001
• "Lydia Davis", Penn Sound

Susan Howe (June 10, 1937) is a American poet, scholar, essayist and critic, who has been closely associated with the Language poets, among others poetry movements. Her work is often classified as Postmodern because it expands traditional notions of genre (fiction, essay, prose and poetry). Many of Howe's books are layered with historical, mythical, and other references, often presented in an unorthodox format. Her work contains lyrical echoes of sound, and yet is not pinned down by a consistent metrical pattern or a conventional poetic rhyme scheme. She is the recipient of the 2011 Bollingen Prize in American Poetry.

Personal life[link]

Howe was born in Boston, MA and grew up in nearby Cambridge. Her mother, Mary Manning, was Irish and wrote plays and acted for the Abbey Theatre. Her father, Mark DeWolfe Howe, was a professor at Harvard Law School. Her sister is the poet Fanny Howe. Howe graduated from the Boston Museum School of Fine Arts (1961). She was married to the painter, Harvey Quaytman. She was married to her second husband, sculptor David von Schlegell, until his death (1992). Her third husband, Peter Hewitt Hare, a noted philosopher and Professor at the University of Buffalo, died in January 2008. She has two children, the painter R.H. Quaytman, and the writer Mark von Schlegell. She lives in Guilford, Connecticut and was a fall 2009 Anna-Maria Kellen Fellow at the American Academy in Berlin, where she is working on her newest poetic sequence A Collection of Poems and Essays.

Publications[link]

Howe is author of a number of books of poetry, including Europe of Trusts: Selected Poems (1990), Frame Structures: Early Poems 1974-1979 (1996) and The Midnight (2003), and two books of criticism, The Birth-Mark: Unsettling the Wilderness in American Literary History (1993) and My Emily Dickinson (1985). Her work has appeared in numerous anthologies, including The Norton Anthology of Modern and Contemporary Poetry, and the important Language School anthology In the American Tree (edited by Ron Silliman).

In 2003, Howe started collaborating with experimental musician David Grubbs. The results were released on two CDs: Thiefth (featuring the poems Thorow and Melville's Marginalia) and Songs of the Labadie Tract.

Influences[link]

Her main literary influences are Dickinson, Charles Olson and early Puritan writers like Cotton Mather, as well as minimalist artists such as Agnes Martin and historians such as Richard Slotkin. The link between these is New England, and Howe can be viewed as a New England poet in her sense of new possibilities and preference for an economy of means.^{[citation needed]} Recent writings, including Pierce-Arrow (1999), reflect an ongoing dialogue and engagement with the writings of Charles Sanders Peirce.

Other activities[link]

Howe spent some time in Dublin, where she worked as an actor and assistant stage director with the Gate Theatre. She paints and has worked as a radio producer. Since 1989 she taught English at the University at Buffalo, The State University of New York until she retired in October, 2006. Recently, Howe has held the following positions: Distinguished Fellow, Stanford Institute of the Humanities; faculty, Princeton University, University of Chicago, University of Utah, and Wesleyan University (English Department’s Distinguished Visiting Writer, 2010–11).[1][2][3] In 2009, she was awarded a Berlin Prize fellowship. In 2011, Howe was awarded the Yale Bollingen Prize in American Poetry.[4] "She was elected a member of the American Academy of Arts and Sciences in 1999 and a Chancellor of The Academy of American Poets in 2000."[5]

Bibliography[link]

• The End of Art (1974)
• Hinge Picture (1974)
• Chanting at the Crystal Sea (1975)
• Secret History of the Dividing Line (1978)
• The Western Borders (1979)
• Cabbage Gardens (1979)
• The Liberties (1980)
• Pythagorean Silence (1982)
• Defenestration of Prague (1983)
  • "The Liberties"
• My Emily Dickinson (1985; reissued 2007)
• Incloser (1985)
• Heliopathy (1986)
• Articulation of Sound Forms in Time (1987)
• A Bibliography of the King’s Book, or Eikon Basilike' (1989)
• The Europe of Trusts (1990)
  • "Pythagorean Silence"
  • "Defenestration of Prague"
  • "The Liberties"
• Singularities (1990)
  • "Articulation of Sound Forms in Time"
  • "Thorow"
  • "Scattering as Behavior Towards Risk"
• Silence Wager Stories (1992)
• The Nonconformist’s Memorial (1993)
  • "The Nonconformist’s Memorial"
  • "Silence Wager Stories"
  • "A Bibliography of the King’s Book, or Eikon Basilike"
  • "Melville’s Marginalia"
• The Birth-mark: Unsettling the Wilderness in American literary History (1993)
  • "Submarginalia"
  • "Incloser"
  • "Quasi-marginalia"
  • "The Captivity and Restoration of Mrs. Mary Rowlandson"
  • "These Flames and Generosities of the Heart"
  • "Talisman interview with Edward Foster"
• Interview with Lynn Keller (1995)
• Frame Structures (1996)
  • "Hinge Picture"
  • "Chanting at the Crystal Sea"
  • "Cabbage Gardens"
  • "Secret History of the Dividing Line"
• Pierce-Arrow (1999)
• Deux Et (1998)
• Bed Hangings I (2001)
• Bed Hangings II (2002)
• Kidnapped (2002)
• The Midnight (2003)
  • "Bed Hangings I + II"
  • "Scare Quotes I + II"
  • "Kidnapped"
• Souls of the Labadie Tract (2007)
• My Emily Dickinson (2007 reissue of 1985 publication)
• THAT THIS (2010) (includes six black and white photograms by James Welling)

Some Critical Works on Howe's Writing[link]

• Back, Rachel Tzvia. Led By Language: The Poetry and Poetics of Susan Howe. Tuscaloosa, AL: University of Alabama Press, 2002.
• Crown, Kathleen. "Documentary Memory and Textual Agency: H.D. and Susan Howe." How2, v. 1, n° 3, Feb. 2000.
• Daly, Lew. Swallowing the Scroll: Late in a Prophetic Tradition with the poetry of Susan Howe and John Taggart. Buffalo, NY: M Press, 1999.
• Davidson, Michael. "Palimptexts: Postmodern Poetry and the Material Text", Postmodern Genres. Marjorie Perloff, ed. Norman, OK: University of Oklahoma Press, 1988/89. (Coll.: n° 5 of Oklahoma Project for Discourse and Theory.) pp. 75–95.
• "The Difficulties Interview", issue dedicated to Susan Howe. The Difficulties, 3.2, 1989. pp. 17–27.
• Duplessis, Rachel Blau. "Our law /vocables /of shape or sound : The work of Susan Howe", How(ever) v.1 n° 4, May 1984.
• Foster, Ed. "An Interview with Susan Howe", Talisman: A Journal of Contemporary Poetry and Poetics, n° 4: special issue on Susan Howe, 1990. pp. 14–38.
• Howard, W. Scott. "Literal/Littoral Crossings: Re-Articulating Hope Atherton’s Story After Susan Howe’s Articulation of Sound Forms in Time." Water: Resources and Discourses. Ed. Justin Scott Coe and W. Scott Howard. Reconstruction: Studies in Contemporary Culture 6.3 (2006): [6].
• Howard, W. Scott. “Teaching, How/e?: not per se.” Denver Quarterly 35.2 (2000): 81-93.
• Howard, W. Scott. “‘writing ghost writing’: A Discursive Poetics of History; or, Howe’s hau in ‘a bibliography of the king’s book; or, eikon basilike’.” Talisman 14 (1995): 108-30.
• Keller, Lynn. Forms of Expansion: recent Long Poems by Women, Chicago, IL: University of Chicago Press, 1997.
• Ma, Ming-Qian. "Articulating the Inarticulate: Singularities and the Countermethod in Susan Howe," Contemporary Literature v.36 n° 3, 1995, pp. 466–489.
• Naylor, Paul. Poetic Investigations: Singing the Holes In History. Evanston, IL: Northwestern University Press, 1999.
• Nicholls, Peter. "Unsettling the Wilderness: Susan Howe and American History", Contemporary Literature, v.37, n° 4, 1996, pp. 586–601.
• Perloff, Marjorie. "Against Transparency : From the Radiant Cluster to the Word as Such" & "How it means: Making Poetic Sense in Media Society" in Radical Artifice, Chicago: University of Chicago Press, 1998.
• Perloff, Marjorie. "Language Poetry and the Lyric Subject: Ron Silliman's Albany, Susan Howe's Buffalo", Critical Inquiry, n° 25, Spring 1999, pp 405–434.
• Perloff, Marjorie. Poetic License: Essays on Modernist and Postmodernist Lyric. Evanston, IL: Northwestern University Press, 1990.
• Quartermain, Peter. Disjunctive Poetics: From Gertrude Stein and Louis Zukovsky to Susan Howe, Cambridge: Cambridge University Press, 1992.
• Rankine, Claudia, and Spahr, Juliana. American Women Poets in the 21st Century: Where Lyric Meets Language, Middletown, CT: Wesleyan University Press, 2002.
• Reinfeld, Linda M. Language Poetry: Writing as Rescue. Baton Rouge, LA: Louisiana State University Press, 1992.
• Swensen, Cole. "Against the Limits of Language: The Geometries of Anne-Marie Albiach and Susan Howe", in Moving Borders: Three Decades of Innovative Writing By Women, Mary Margaret Sloan, ed. Jersey City, NJ: Talisman House Publishers, 1998. pp. 630–641
• Ziarek, Krzysztof. The Historicity of Experience: Modernity, the Avant-Garde, and the Event. Evanston, IL: Northwestern University Press, 2001.

External links[link]

• Susan Howe Homepage @ the EPC
• Susan Howe Page @ Modern American Poetry
• Jon THOMPSON's “Interview with Susan Howe” from Free Verse: A journal of contemporary poetry and poetics, 2005. at: [7]
• A review of Susan Howe's collaboration with David Grubbs by Ben Lerner
• Susan SCHULTZ's « Exaggerated History. » Postmodern Culture. v. 4, n° 2, Jan. 1994. online at: [www.english.upenn.edu]
• Cole SWENSEN's « To Writewithize (as in "to hybridize" to "harmonize" to "ionize" etc.)» American Letters & Commentary, Winter 2001. at: [8]
• Cole SWENSEN's « Seeing reading: Susan Howe's Moving Margins. » Conférence: Louisville Conference on Modern Literature. April 1999. at: [9]
• Brian MCHALE's « HER William Shakespeare: On the interventionist poetics of Susan Howe (in the male literary cannon) » Conference on contemporary poetry: Poetry and the Public Sphere. Rutger's University, avril 24-27, 1997. at: [10]
• METCALF Paul. "Untitled: on Hope Atherton's Wandernings." on Modern American Poetry Website: [11]
• Bruce Campbell and Susan Howe, On Susan Howe and History, Modern American Poetry
• INTERVIEW in FRENCH with Omar BERRADA. « the space between: Poésie, cinéma, histoire. Entretien avec Susan Howe. » publié dans Vacarme, n° 32, été 2005. Disponible sur : [12]