of any poem where the word "marginalization" occurs. It is being used here, but this may or may not be a poem: the couplets of six word lines don't establish an audible rhythm; perhaps they haven't, to use the Calvinist mercantile metaphor, "earned" their right to exist in their presentform--is this a line break or am I simply chopping up ineradicable prose? But to defend this (poem) from its own attack, I'll say that both the flush left and irregular right margins constantly loom as significant events, often interrupting what I thought I was about to write and making me write something else entirely. Even though I'm going back and rewriting, the problem still reappears every six words. So this, and every poem, is a marginal work in a quite literal sense. Literary criticism Perelman wrote two works of literary criticism in book form, The Trouble with Genius, which examines the antecedents of the Language writing movement, and The Marginalization of Poetry, which comments in verse form on the history and historiography of that movement. According to Lilley, Language writers were "assemblages of young, experimental, left-identified writers, ... , [who] were motivated by what Perelman calls ’opposition to the prevailing institutions of American Poetry’" and took up the "tradition of experimental modernism and avant-garde self-publishing", neglected by academia. The Trouble with Genius Perelman's 1994 book, The Trouble with Genius, is a literary critique of his modernist forerunners, Pound, Joyce, Stein and Zukofsky. Al Filreis suggests that the book is primarily about how to reconcile the populist dimension of their works with the lack of accessibility of their poetics, owing to arcane historical references and opaque styles of writing. He suggests that Perelman has overcome this contradiction in his own writing, despite his efforts to maintain the high standard of his antecedents. Filreis cites “History is not a sentence” to portray Perelman looking back "in order to remind himself that the present, both required and sufficient, is only right there in the writing". He cites the poem “Movie", which describes a tessellation of history, including Nixon, Vietnam, Nicaragua, the Revolution of 1848, the Bastille, through the Reagan era, including the Iran-Contra saga of Oliver North. Steven Helming reported that Perelman spontaneously and wittily answers to the "surprises and quirks of difficult texts" of the authors studied, which discussion pairs Édouard Manet with Franz Kline, Ezra Pound with Theodor Adorno, Igor Stravinsky