Mature Work
In the early 1970s, Weiner began writing a series of journals that were partly the result of her experiments with automatic writing and partly a result of her schizophrenia. Judith Goldman claims that politics and ethics were central to a mode of writing she developed and called "clair-style," which used "words and phrases clairvoyantly seen" and that Weiner arrived at a method of composing that employed "these seen elements exclusively." Goldman also provides the insight that "Weiner let no representation of herself circulate that did not take her status as a clairvoyant into account." She influenced a number of the language poets and was included in the In the American Tree anthology of Language poetry (edited by Ron Silliman). Beginning with Little Books/Indians (1980) and Spoke (1984) Weiner's work engaged with Native American politics, particularly the American Indian Movement and the case of imprisoned activist Leonard Peltier.
Interest in Weiner continues into the 21st century with the recent publication of Hannah Weiner’s Open House (2007), "a representative selection spanning her decades of poetic output" This volume was edited by Patrick F. Durgin, who provides an overview of Weiner's art:
| “ | Hannah Weiner’s influence extends from the 1960s New York avant-garde, where she was part of an unprecedented confluence of poets, performance and visual artists including Phillip Glass, Andy Warhol, Carolee Schneemann, John Perrault, David Antin, and Bernadette Mayer. Like fellow-traveler Jackson Mac Low, she became an important part of the Language poetry of the 1970s and 1980s, and her influence can be seen today in the so-called "New Narrative" work stemming from the San Francisco Bay Area. With other posthumous publications of late, her work is being discussed by scholars in feminist studies, poetics, and disability studies. But there does not yet exist a representative selection spanning her decades of poetic output. Hannah Weiner’s Open House aims to remedy this with previously uncollected (and mostly never-published) work, including performance texts, early New York School influenced lyric poems, odes and remembrances to / of Mac Low and Ted Berrigan, and later “clair-style” works. | ” |
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