• Introduction
• CONSIDERING HOW MATERIAL DOCUMENTS CAN BE
• The Present Versus (the) Now
• Sound Mappings: free103point9’s Constructive Engagement
• Anne Waldman Changing the Frequency
• The Information of Art: A Martha Rosler Retrospective
• Fade to Black: Kevin Killian’s Argento Series
• The Costs of Style: Harryette Mullen and Freestyle
• Adding Up to Plural: On the Work of Roberto Tejada
• Poetry As Document, or The Y2K Problem Is the Illusion of Starting at Zero
• Form and Culture
• TERRITORIES AND OTHER FORMS OF KNOWING
• re:Reading the Active Reader Theory
• Poetic Ethnography: Mark Nowak’s Revenants
• “There’s no center where / similarity would begin”: C.S. Giscombe’s Giscome Road and Here
• A Global View: Andreas Gursky at Matthew Marks Gallery
• Ghost Stories: Renee Gladman’s Juice
• Poetry and Reportage: Andrew Schelling’s The Road to Ocosingo
• What Are the Alternatives?—Lorenzo Thomas’ Extraordinary Measures, for Example
• MEANING POLITICS WITHOUT REGRETS
• “Startling and Effective”: Writing Art and Politics after 9/11
• Countercultural Studies: Edward Sanders’ 1968: A History in Verse
• Shine a Dark Light on It: Benjamin Friedlander’s A Knot Is Not a Tangle
• Picking Up the Diasporic Pieces: Keith Piper at the New Museum
• “How Soon Is Now?”: Anselm Berrigan, Prageeta Sharma, Greg Fuchs, Magdalena Zurawski, and the New Independents
• Building Locations: Recent Work by Ben Polsky
• Musical Chairs in Public Spaces: Brenda Coultas’ The Bowery Project
• Acknowledgments
• Bibliography • Index