Abstract
Susan Howe's recent collage poems-an intricate, sui generis form-are the flowering of her editorial theory, which I describe as "intimate editing." I challenge scholarly assumptions that sideline Howe's engagement with the field of textual criticism from accounts of her poetry by showing how her unique approach to texts puts avant-garde poetry and textual editing into conversation, introducing reciprocal possibilities for both. Poems can model new forms of editing, and editorial debates can expand the reach and resonance of innovative poetry. Drawing on The Birth-mark, Howe's collection of creative-critical essays that probe the motivations and ethos of textual criticism, I show how intimate editing expands the typical, often rigid, values of traditional editing and contributes to growing discussions about what a feminist textual criticism might look like. Then I discuss the collage poems, particularly those in Concordance, as whimsical manifestations of Howe's textual approach.