Nature is a Haunted House-but Art-a House that tries to be haunted-Emily Dickinson, The Letters of Emily Dickinson 554A haze / Blink into aching lost / Only words remain / print is available-Susan Howe, unpublished poem1The only real in writing is writing itself-William Carlos Williams, The Embodiment of Knowledge 13.BecAuse she attends to writing as a residual manifestation of a fragmented self, and because of her opaque texts-cut up, taped together, and, at points, overlapping-Susan Howe is often cast as a post-modern Language poet with historicist leanings.2 Spontaneous Particulars, however, emphasizes Howe's indebtedness to modernists such as William Carlos Williams, Hart Crane, Gertrude Stein, and H.D. As does Williams in In American Grain (1939), which Michael Palmer describes as bearing the same relationship to a consciousness of American language and speech as one finds in Howe's creative scholarship, she digs into layers of writing several levels beneath modernism (My Emily Dickinson, back cover). Through archival research, Howe investigates American ground as it appears in writings by Nathanael Hawthorne, Jonathan Edwards, and Noah Webster and reproductions of cloth patches associated with otherwise unacknowledged figure, Susan Edwards.3 The bits of fabric testify to exclusionary, even violent, character of archival memory.4 Howe points out, and dress fragments, a pair of silk (21) represent only material reminder of a gifted, learned woman in vast Edwards archives at Yale's Beinecke, which includes over 1,200 sermons by Susan's brother, Jonathan, New England evangelical preacher credited with helping inaugurate Great Awakening in first half of 18th century. As with Andrei Codrescu's Bibliodeath, which describes gruesome blood and brain matter splattered upon a manuscript by Richard Brautigan, who committed suicide during composition of a novel in 1984, as a critical component of late author's archive held at Bancroft Library in Berkeley, I will be focusing in this essay on Howe's archival research into material culture-for example, embroidery and silk shoes and wedding dress fragments assigned to female members of 18th century Edwards family-as evidence of what William Carlos Williams termed embodiment of knowledge.5 As with Codrescu's punning on relation of corpse and corpus in his analysis of human-stained Brautigan manuscript, Howe perceives archival research as a work of bereavement. In That This (2010), for example, a Howe work inaugurated by unexpected death in 2008 of her second husband, distinguished SUNY Buffalo philosopher of American pragmatism Peter Hare, she describes her researches in terms of mourning: If you looked through my papers until now, you would find a former dead husband at center. We had almost stopped needing to summon others-not quite. Not if you rely on written traces (15 That This). Like That This, Spontaneous Particulars addresses her gnostic disposition and serendipitous relation to archival researches as forms of trance-like summoning of dead that remain as textual spirits: Often by chance, via out-of-the way card catalogues, or through previous web surfing, a particular 'deep' text, or a simple object (bobbin, sampler, scrap of lace) reveals itself here at surface of visible, by mystic documentary telepathy. Quickly-precariously-coming as it does from an opposite direction (18). Archival research enables Howe, through luck or fate, to, as it were, read life backwards. She can an uncanny repetition of, not only a textual trace of past, but what she calls an experience [of] a moment before.In In American Grain, Williams reframed early American history through liberal quotations from source texts to convey their impact, in sound and sense, on modern scene. Howe, by contrast, focuses on writerly stylistics, but she also comments upon physical surface of texts. …