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The Grand Piano: An Experiment in Collective Autobiography: San Francisco, 1975-1980
     

The Grand Piano: An Experiment in Collective Autobiography: San Francisco, 1975-1980

by Ron Silliman, Lyn Hejinian, Barrett Watten, Rae Armantrout, Others
 

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Poetry. Cultural Writing. THE GRAND PIANO is an ongoing experiment in collective autobiography by ten writers identified with Language poetry in San Francisco. It takes its name from a coffeehouse at 1607 Haight Street, where from 1976-79 the authors took part in a reading and performance series. The writing project, begun in 1998, was undertaken as an online

Overview


Poetry. Cultural Writing. THE GRAND PIANO is an ongoing experiment in collective autobiography by ten writers identified with Language poetry in San Francisco. It takes its name from a coffeehouse at 1607 Haight Street, where from 1976-79 the authors took part in a reading and performance series. The writing project, begun in 1998, was undertaken as an online collaboration, first via an interactive web site and later through a listserv. When completed, THE GRAND PIANO will comprise ten parts, in which each of the ten authors will appear in a different sequence. These poets are Bob Perelman, Barrett Watten, Steve Benson, Carla Harryman, Tom Mandel, Ron Silliman, Kit Robinson, Lyn Hejinian, Rae Armantrout, and Ted Pearson.

Product Details

ISBN-13:
9780979019807
Publisher:
Mode A/This Press
Publication date:
01/01/2007
Pages:
79
Product dimensions:
4.50(w) x 6.90(h) x 0.30(d)

Meet the Author


THE GRAND PIANO is an experiment in collective autobiography by ten writers identified with the rise of Language poetry in San Francisco—Rae Armantrout, Steve Benson, Carla Harryman, Lyn Hejinian, Tom Mandel, Ted Pearson, Bob Perelman, Kit Robinson, Ron Silliman, and Barrett Watten. The eleventh pianist, Alan Bernheimer, takes the lead in organizing documentation for the books. THE GRAND PIANO takes its name from a coffeehouse at 1607 Haight Street in San Francisco where from 1976 to 1979 several of writers programmed and coordinated—and all of them participated in a weekly reading and performance series. The project focuses on the 1970s when they first met and collaborated. Yet the volumes engage issues beyond that time, and the project adheres to no prescribed set of themes.

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