This paper tries to examine how Susan Howe develops a radical critique of history in her experimental language by analyzing “Thorow,” one of her longer poems. Technically, she often seems to be more focused on sound and form than on meaning, and, for the visual effect, deliberately pastes scissored phrases and lines on the page, which makes her stand high in estimation among contemporary avant-garde poets. She crosses genres and disciplines, and sometimes scatters, overlaps, even inverts, the words, phrases, or sentences from different sources. Her work is multi-layered and allusive owing to its heavy dependence on various texts from early American history and primary documents. In addition, her poetry gets much harder to read when its fragmented language ignores the standard of orthography and ypography. Howe’s technical experiment is thematically connected with her approach to history and reality. She considers history as a winner’s record, and reality as its residue, and, by way of “Thorow”[thorough] re-reading of history, seeks to reach an open field where plural voices, especially those forgotten or erased, are newly heard. “Thorow” is an exploration into an “unappropriated land,” not mediated or governed by an authoritarian voice, and also an investigation into such linguistic conditions as to make it possible.