Conceived in 1976 and published in 1980, LEGEND exemplifies the political and linguistic commitments of then-nascent Language writing. Coauthored by Bruce Andrews, Charles Bernstein, Ray DiPalma, Steve McCaffery, and Ron Silliman, the work was composed on typewriters and developed through the mail. The twenty-six poems of the volume bring together every possible permutation of collaborative authorship in one-, two-, three-, and five-author combinations, revealing the evolution of distinctive styles against and in conversation with others. Along with a complete reproduction of the original text, LEGEND: The Complete Facsimile in Context includes a critical introduction by editors Matthew Hofer and Michael Golston, a generous selection of material from the authors' correspondence, and a new collaborative piece by the authors. This book will be an essential resource to students and scholars in twentieth-century poetry and poetics.

Poetry. NORTHERN SOUL is the second poem in a major sequence entitled Universe, following on from REVELATOR, published by BookThug in Canada in 2013. Universe is a work that, were Ron Silliman to live long enough, would take him three centuries to complete; it is a poem of globalization and post-global poetics (an important reason for publishing several sections outside the author's native USA). NORTHERN SOUL is a book-length poem of observation and reminiscence, a kaleidoscope of impressions occasioned by visits to Lancashire, in the north-west of England, where the author has several times appeared at the Bury Text Festival; Lancashire is also home to the Northern Soul music scene--another moment of US/UK interpenetation.

Between the Age of Innocence and the Age of Experience comes "The ""Age of Huts. "This book brings together for the first time all of the poems in Ron Silliman's "Age of Huts "cycle, including "Ketjak, Sunset ""Debris, The Chinese Notebook, "and "2197, "as well as two key satellite texts, "Sitting Up, Standing, Taking Steps, "and "BART. "Each poem offers a radically different approach toward using language to explore the world. One of the founding works of Language Poetry, "The Age of ""Huts "is about everything, more or less literally, as each sentence, even each phrase, embarks on its own narrative, linking together to form a large polyphonic investigation of contemporary life. From "Ketjak, "one of the first poems to employ "the new sentence," to "2197, "a serial work that scrambles the vocabulary and grammar of its sentences, "The ""Age of Huts "questions everything we have known about poetry in order to see the world anew.

The Sophist was first published by Sun & Moon Press in 1987 and has been unavailable for well over a decade. A pivotal book for Bernstein, The Sophist demonstrated his great range of subject matter, style, and genre. By contrasting wildly different approaches to poetry, Bernstein not only questions the intrinsic value of any given form but also provides a model for his later heterogeneous books, including My Way and With Strings. If sophism is the opposite of both philosophy and the lyric, then The Sophist is model for a rhetorical poetry that interrogates truth in the name of reason.

"Under Albany is the shadow movement of Ron Silliman's epic of everyday life, The Alphabet. Silliman provides a set of extended, vividly etched, mostly autobiographical, meditations on the background for each of the original 100 sentences of his 1981 poem Albany. This constructivist memoir provides an exquisitely rich exploration of the relation of context to reference, subtext to meaning, back story to presented experience, and composition to poetics. All of Silliman's work unravels and reforms in this exemplary and exhilarating act of attention, recollection, and reflection." --Charles Bernstein

Space heater. Writing gathers around the pigeons. This line leads to Uranus. Nun census. Silver fork upon a chipped blue plate. I saw sleeping bag, pillows in the Buick's back. The companionship of refrigerator's hum. This is beginning I again began not. Salt shaker tall as coffee's mug. Dented Opel's orange fender. Gray dawn. On the rain falls Spain mainly in the brain. Smudges forming fingertips on the back door's windows. X-ray reads gold-leaf sign on the glass. First sound of roommates beginning to stir. Grey into yellow comes sky to the room. Each page, once tree, soon shall be ash. Leather chipping, flaking off the tattered jacket. A woman who wears sweat pants. Detestimonialist. Don't sneeze on cat. Predictable boots worn by Frye people. Potholders old and dark. Ridges by bridges. Knife blade streaked with butter. That bus coming back this way. Rough surface of cat's tongue. Pin koans. Clutter of seeds, oils, spices atop the side board. Uganda Liquors.Pedestrians scamper across in the sun. Stake each sentence out. Call this 5 Corners. Knot this knot. Ball bounced into the panda plant. Cups fill the cupboard. Aliens from other planets are perfectly visible. Tamal is a half-name in the place of the name. The squeak of faucets. I was on the road discovered. Ash "tray." Yellow caterpillar tractor. Ashtray fills up. Waking is in each instant I am. Across, then down and across. Her tone to him through long years of rough intimacy was at once tender and gruff. Begin each letter at the top. Not this. Pit bull's spittle as it snarls. I saw a burgundy filling the clear vial at needle's end, my blood. Liquid detergent. Ing the trap bears ed. Roach holder made of a matchbook. She never lookd this way, whose face I sought a glimpse of. Free write each day. My fingers counted between nine and eleven.Any symbol is a contrary seen in a positive light. A specific shape, complex amd nameable, to each cloud. Sky pilot. Factory filld with sunrise. Scraping paper, leaving tracks. Forklift to timeclock of montage and cut. Call this tracing. 3 wooden rainwarpd chairs in the (back) yard. Fence is a verb. Scratch that. Each word in Max 3 meant polis. In the mind mines gape. Tell that to the Possum. Words tried to imagine. Coffee ground spilld on the stove top. Bare nap rugs on the cat. Mouth open, take a deep breath, say Ah. On the far gray bay side haze hued the hill.Rush of footsteps upstairs. Bathetic. In a middle that is not yet the middle. The mock coolness of the air-conditiond underground. Hours alter colors of the page. Grease sizzles, spitting on the stove top. Words vary. Swam past sand sharks. An idea of land's end. Pale luncher. An eternal groove around record's center. 4-tunneld city and 7 its hills. Owl light.Impaired eyes, desert rocks are attributed evenly throughout the pain. Red water. We saw on the sea sails. Stoppage makes the line. Translicity elects the voice. Cowabonga. But you dependent for what comes thru. Call it dogface. Know all blame, same difference. Doors "ajar." I glimpse the machinery of the modern dentist thru windows. Pills on my Tarot. Shade throws the light lamp. Pacific Palisades. Write between light green lines. Beer in waxed cups. Noon's rise mooning. Someone must make awnings. On the bus home from work, squinting at a thick printout. On a bus in dawn heavy fog, on my way to meet Taggart. Smouldering sienna. One ideogram, meaning lunch, middle or China. The familiar smell suddenly of balsawood and Testor's in a hospital corridor.My nose, seen as a waterfall. Disfeel an ease. Cary Grant on the face of George Washington. Or the faces of watchers through a window at sunset, their skin blue by the dim light of the telly. Once on the bus, took his shoes off. Detains, denotes detonation. His eyes enlarged by his glasses.