By John R. Woznicki
The New American Poetry: Fifty Years Later is a suite of serious essays on Donald Allen’s 1960 seminal anthology, The New American Poetry, an anthology that Marjorie Perloff as soon as known as “the fountainhead of radical American poetics.”
The New American Poetry is stated in each literary historical past of post-World battle II American poetry. Allen’s anthology has reached its 50th anniversary, offering a special time for mirrored image and reevaluation of this preeminent assortment.
As we all know, Allen’s anthology was once groundbreaking—it used to be the 1st to distribute largely the poetry and theoretical positions of poets equivalent to Charles Olson, Allen Ginsberg and the Beats, and it was once the 1st to categorize those poets by way of the colleges (Black Mountain, big apple college, San Francisco Renaissance, and the Beats) through which they're identified this present day. Over the process fifty years, this categorization of poets into colleges has turn into one of many significant, if not just method, that The New American Poetry is remembered or valued; one sure target of this quantity, as one reviewer invitations, is to “pry The New American Poetry out from the hoary platitudes that experience encrusted it.”
To this aspect critics in most cases have tested The New American Poetry as an anthology; former remedies of The New American Poetry look at it carefully as a complete. notwithstanding the virtually singularly-focused research of its building and, much less usually, reception has lent loads of documented, hugely noticeable and debated fabric within which to think about, now we have been left with yes notions approximately its relevance that experience turn into imbued eventually within the collective serious awareness of postmodernity.
This quantity, although, is going past the research of development and reception and achieves anything precise, extending those former remedies through treading at the paths they bring about. This quantity goals to find one other feel of “radical” that Perloff articulated—rather than a thorough that departs markedly from the standard, we invite attention of The New American Poetry that is radical within the feel of root, of harboring anything primary, anything inherent, as we discover and hint additional parts correlated with its frequent impact during the last fifty years.
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Additional resources for The New American Poetry : Fifty Years Later
Example text
Volume III. New York: New Directions, 1988: 53–55. indb 28 11/25/13 9:30 AM CHAPTER THREE Without a Mammalia Maxima, Charles Olson and Robert Duncan Apprehend a Cosmological American Poetics Joshua S. Hoeynck While outlining The New American Poetry on September 9, 1959, Donald Allen penned a letter to Charles Olson that articulated his difficulty reconnoitering the landscape of American poetry. ”2 Allen’s language belies his fraught position as both editor and reader: the phrases “finding where” and “deciding where” evince tension between his roles as the anthology’s coordinator and as an interpreter of poetic, stylistic affinity.
When I saw him, he was at the door, but it did not matter, he was already sliding along the wall of the night, losing himself in some crack of the ruins. That it should have been he who said, “The kingfishers! ”16 If, as Davenport argues, “Pound [ . . ”19 The poem’s opening therefore intimates an economic history in order to connect humans and animals, culture and nature. Maud goes on to note that Olson’s “use of the word ‘ruins’” may recall Eliot’s line from “The Wasteland”— “these fragments I have shored against my ruins”—but he asks, “would it not be possible to stick with the literal here?
Olson would eventually accept this version of the creative process, writing in “Projective Verse II” (1958) that the poem “has one law: it has to occur. indb 40 11/25/13 9:30 AM Without a Mammalia Maxima, Charles Olson and Robert Duncan • 41 cosmos or environment from the painter’s visual, auditory, and imaginative interactions with the actual cosmos. 42 Duncan’s Spanish letters on human sacrifice, love, medieval icons and renaissance idols thus contributed to Olson’s poem “Who Slays the Spanish Sun,” but his comments on art history also incited Olson to consider how “icons” emerge from things the poet sees and hears.
