(3) Janet Sutherland's essay "Reznikoff and his Sources" (Man and Poet, pp. 297-307) is an insightful examination of Reznikoff's use of primary sources. Charles Bernstein's "Reznikoff's Nearness" (Sulfur 32, Spring 1993, pp. 6-38; focusing on Reznikoff's "Testimony") provides a way of looking at the poet's work as cubo-serialism: "[T]he permutation of briefly etched, identifiable details that don't quite stand on their own and that are separated by a gap, or interval, that requires a full stop. The prefix suggests rhetorically consonant permutations of angles of view on related (or linked) subjects." Both essays signal a shift, perhaps, in the critical studies of Reznikoff's poetics toward an interest in his radical use of forms under the veneer of "easy, narrative" content.