Explores the ways American poetry engages with visual art, music, fiction, spirituality, and performance art Many people think of poetry as a hermetic art, as though poets wrote only about themselves or as if the subject of poetry were finally only poetry&;its forms and traditions. Indeed much of what constitutes poetry in the lyric tradition depends on a stringently controlled point of view and aims for a timeless, intransitive utterance. Stephen Fredman&;s study proposes a different perspective.American Poetry as Transactional Art explores a salient quality of much avant-garde American poetry that has so far lacked sustained treatment: namely, its role as a transactional art. Specifically Fredman describes this role as the ways it consistently engages in conversation, talk, correspondence, going beyond the scope of its own subjects and forms&;its existential interactions with the outside world. Poetry operating in this vein draws together images, ideas, practices, rituals, and verbal techniques from around the globe, and across time&;not to equate them, but to establish dialogue, to invite as many guests as possible to the World Party, which Robert Duncan has called the &;symposium of the whole.&; Fredman invites new readers into contemporary poetry by providing lucid and nuanced analyses of specific poems and specific interchanges between poets and their surroundings. He explores such topics as poetry&;s transactions with spiritual traditions and practices over the course of the twentieth century; the impact of World War II on the poetry of Charles Olson and George Oppen; exchanges between poetry and other art forms including sculpture, performance art, and ambient music; the battle between poetry and prose in the early work of Paul Auster and in Lyn Hejinian&;s My Life. The epilogue looks briefly at another crucial transactional occasion: teaching American poetry in the classroom in a way that demonstrates that it is at the center of the arts and at the heart of American culture.