Lyn Hejinian played a key part in forming and leading Language poetry, the most influential avant-garde poetry since the 1970’s. She refuses to comply with main-stream poetic tradition and its hegemony, and, to realize her denial effectively, conducts a variety of linguistic experiments, and publishes critical theories, while, like most other Language poets, dealing with poetry in a wider context of politics, society, economics, and culture. However, unlike many other Language poets whose voices are often anti-confessional and anti-realistic, she makes use of autobiographical memories and daily details as essential to her poetry. She neither seeks the authoritarian subjectivity nor accepts the idea of organic closure, while not inclined to pursue nonsense or non-referentiality. She revolutionizes lyric poetry, and at the same time, stirs readers’ imagination with her unique lyricism. Her new sentence is supposed to be complete as a unit but defamiliarized with others. In this new sentence and open-ended closure, memory is not confined in a specific time and place but continues to regain its significance whenever evoked repeatedly in ever-changing life. This experimental lyricism makes Hejinian distinct from other Language poets as well as from traditional poets. This paper studies her “The Rejection of Closure”(1983) to look into her view of language, and considers her My Life as an open text where memory, growing to a realm of metaphor or metonymy, provides an implicit vision of life.