The Complete Peter Seaton

edited by Stephen Reid McLaughlin
with Christian Roess and Charles Bernstein

Poetry Collections

1978. Agreement. New York: Asylum’s Press. PDF.
1982. The Son Master. New York: Roof Books. Link.
1983. Crisis Intervention. Tuumba 45. Berkeley: Tuumba Press. PDF.
2003. Imaginary Ship. Manuscript. Beaumont Press(?). PDF.

Poetry in Periodicals

1973. “The Ocean.” Promethean, edited by J. Richard Patton, Pat Exum, Arnold Heller-Ingberman, Mark Lovewell, Peter Stamos, and God Kalim, 21, no. 2:7. New York. PDF.
c. 1977. “To Be Continued in Six Minutes.” Out There, edited by Neil Hackman and Kevin Klein, no. 12. Apocalypse, Northeastern Illinois University. PDF.
1977. “A Small Group of Men Waiting for Nearly an Hour.” Roof, edited by James Sherry, no. 3:33–36. New York: Segue Press. PDF.
1977. “Interstices.” Slit Wrist, edited by Terry Swanson, nos. 3–4:33–52. New York. PDF.
1977. “Men on the Roof.” This, edited by Barrett Watten, no. 8. San Francisco: This Press. PDF.
1977. “Verse.” Roof, edited by James Sherry, no. 4:38–39. New York: Segue Press. PDF.
1978. “Piranesi Pointed Up.” Roof, edited by James Sherry, no. 8:38–60. New York: Segue Press. PDF.
1978. “Side Tone.” This, edited by Barrett Watten, no. 9. San Francisco: This Press. PDF.
1978. “Signification.” L=A=N=G=U=A=G=E, edited by Charles Bernstein and Bruce Andrews, no. 3:26–28. New York. PDF.
1978. “Maine Mall.” Hills, edited by Bob Perelman, no. 5:98–105. San Francisco. PDF.
1978. “The Correspondence Principle.” A Hundred Posters, edited by Alan Davies, no. 31:1–12. New York: Other Publications. PDF.
1978. “Whole Halves.” L=A=N=G=U=A=G=E, edited by Charles Bernstein and Bruce Andrews, no. 6:6–8. New York. PDF.
1979. “Apprehension.” This, edited by Barrett Watten, no. 10. San Francisco: This Press. PDF.
1979. “How to Read.” Maine: Moments in New York: A Collection of Contemporary Maine Artists, edited by Charles J. Stanley. New York: Pittore Euforico. PDF.
1979. “Installation.” Colleagues, edited by Charles J. Stanley. New York: Pittore Euforico. PDF.
1979. “An American Primer.” L=A=N=G=U=A=G=E, edited by Charles Bernstein and Bruce Andrews, nos. 9–10:39–41. New York. PDF.
1980. “How to Read II.” Canyon Cinemanews, edited by Henry Hills, 79, nos. 5–6:3–4. San Anselmo, CA: Foundation for Art in Cinema. PDF.
1980. “How to Read III.” QU, edited by Carla Harryman, no. 3:2. Oakland. PDF.
1980. “Texte.” L=A=N=G=U=A=G=E, edited by Charles Bernstein and Bruce Andrews, no. 11:5–8. New York. PDF.
1981. “How to Read V.” Idiolects, edited by Abigail Child, no. 11:9–10. New York: Collective for Living Cinema. PDF.
1982. “How To Read IV,” in “L=A=N=G=U=A=G=E Volume 4,” edited by Bruce Andrews and Charles Bernstein, special issue, Open Letter 5, no. 1:27–30. Toronto. PDF.
1982. “How to Read VI,” in “Realism: An Anthology of ‘Language Writing,’” edited by Ron Silliman. Ironwood, no. 20:106–8. Tucson, AZ: Ironwood Press. PDF.
1982. “Narrative Cause.” Vanishing Cab, edited by Jerry Estrin, no. 5. San Francisco. PDF.
1982. “Need from a Wound Would Do It,” in “Language Sampler,” edited by Charles Bernstein. The Paris Review, no. 86. Paris. Link.
1985. “Two Words,” in “43 Poets (1984),” edited by Charles Bernstein. Boundary 2 14, nos. 1–2: 103–5.
1985. “‘I provide my past with you, the most ....’” Peter Seaton & John Zorn Handbill. New York: Segue Foundation. PDF.
1986. “An Example From the Literature.” Poetics Journal, edited by Barrett Watten and Lyn Hejinian, no. 6:98–103. Oakland. PDF.
1986. “As As In,” “Why I Am Not a Painting,” “Shangri-La.” Sink, edited by Spencer Selby, no. 2. San Francisco. PDF.
1986. “The Pyramids of Elysium.” Temblor: Contemporary Poets, edited by Leland Hickman, no. 3:93–97. North Hollywood, CA. PDF.
1986. “Refugee From Justice.” Splash, edited by Wystan Curnow, Tony Green, Roger Horrocks, and Judi Stout, no. 4. Milford, NZ. MP3.
1987. “Antonville,” “Two Words.” In “Language” Poetries: An Anthology, edited by Douglas Messerli. New York: New Directions.
1987. “Border States.” Red Weather, edited by Kim Lyons, Jim Hydock, and David Abel, no. 2. New York. PDF.
1990. “An Ethics of Anxiety,” in “Postmodern Poetries: An Anthology of Language Poets from North America and the United Kingdom,” edited by Jerome McGann, special issue, Verse 7, no. 1:18–19. UK. PDF.
1993. “Motel Image of the Original Poem,” “Our Wild Succor,” “The Muse Learns to Write,” “What Discourse Shuns,” “Night Residue,” “Aetiological Moment.” Big Allis, edited by Melanie Neilson and Jessica Grim, no. 6:65–70. New York. PDF.
1996. “Tsvetaeva,” “Monk’s Functional,” “A Tit for Paul Celan.” Primary Writing, edited by Diane Ward and Phyllis Rosenzweig, no. 6. Washington, DC: Primary Writing. PDF.
1996. “Song of Heart’s Great Ease,” “Semiotic Imperative.” Mirage #4/Period(ical) #63, edited by Kevin Killian and Dodie Bellamy. San Francisco. PDF.
1999. “Who Writes? (for Bruce Andrews).” Aerial #9: Bruce Andrews, edited by Rod Smith, 138–43. Contemporary Poetics as Critical Theory 2. Washington, DC: Aerial/Edge. PDF.
2000. “Borderline Alphabetic,” “Imaginary Ship,” “Suite for Pen and Ink,” “Chichen Itza,” “Leeward,” “Confessions of a Sperm Donor,” “Boris by Streetlight,” “How to Vote,” “Quest for the Invariant.” Tongue to Boot, edited by Miles Champion, no. 5. London. PDF.

Prose

1982. “Frey’s Landing: An Appreciation of Charles Bernstein’s Shade, Poetic Justice and Controlling Interests,” in “Charles Bernstein Issue,” edited by Tom Beckett, special issue, The Difficulties 2, no. 1:52–53. Kent, Ohio: Viscerally Press. PDF.
1986. “Contributor’s Note.” In In the American Tree, edited by Ron Silliman. Orono, Maine: National Poetry Foundation.

Unpublished Poetry

Secondary Sources