with John Dos Passos, Federico Fellini with Le Corbusier, and Vladimir Lenin with Dizzy Gillespie. Perelman demonstrates how literary criticism is akin to a paper/rock/scissors game, i.e. "poet beats critic"/"critic finds flaws in theoretical writing"/"theory subsumes any specific writing." In doing so, Perelman brings fresh perspective to criticism of Modernist writing, according to Helming. The Marginalization of Poetry Perelman explained of his 1996 versified critique and guide to the Language poetry movement, The Marginalization of Poetry, that he was addressing academics, poets, and those unfamiliar with Language writing and that he "wanted to write criticism that was poetry and poetry that was criticism". Ron Silliman wrote that the book uses the tools of Language writing to portray that very subject and demonstrates that Language writers "do not, and never intended to, 'say the same thing'". Filreis admired Perelman's historiography in the verse, but suggested (along with Silliman) that Perelman’s move from avant-garde culture to academia had affected his perspective on the history of Language writing with this book. Peter Middleton supported this thesis with the observation the book was published by a major academic press, Princeton University Press in part to gain tenure as a professor, rather than one of the small, alternative presses of his earlier works. Middleton highlighted Perelman's concern that academic literary criticism marginalizes poetry in its "practices of theorising and curating literature". Perelman responded to the issue of whether he was somehow compromised by his move into an academic environment, when he wrote: Where did our passion for poetry come from? The page? Created by purely visual epiphany in a kind of unpedagogic, virgin birth? I am very very far from being in love with normative, gatekeeping academic criticism; but pedagogy, repetition and circulation are very widespread structuring conditions against which to act—both as writer and as imaginer of receivers. We all started somewhere well behind the starting line. Selected publications Poetry Non-fiction (contributor) The Grand Piano: An Experiment in Collective Autobiography. (Detroit, MI: Mode A/This Press, 2006 — ongoing). Other Play: The Alps (produced in San Francisco, 1980), published in Hills (Berkeley, CA), 1980. Poetry magazine: Hills, nos. 1-9, edited by Perelman (1973-1980). ''' References External links Perelman Author Homepage at Electronic Poetry Center Audio-files at PENNSound Poems on-line in the DCPoetry Anthology link to three of Perelman's poems: "Postcard Poetics", "Driving to the Philadelphia Poetry Festival at the Free Library", and "Here 2" Bob