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Of Poets Museletter
Frank Moulton Wisconsin Fellowship founded 1950 Of Poets President MuseletterVice-President Secretary Treasurer Membership Chair Peter Sherrill Cathryn Cofell Roberta Fabiani D.B. Appleton Karla Huston 8605 County Road D 736 W. Prospect Avenue 407 Dale Drive 720 E. Gorham St. #402 1830 W. Glendale Ave. Forestville, WI 54213 Appleton, WI 54914 Burlington, WI 53105 Madison, WI 53703 Appleton, WI 54914 [email protected] [email protected] [email protected] [email protected] [email protected] Summer 2003 www.wfop.org Editor: Christine Falk President’s Message First, thanks to the Mid-Central conference committee for such a wonderful Spring Conference: regional vice-president Joan Johannes and committee members Jeffrey Johannes, Lucy Rose Johns, Casey Martin, Grace Bushman, Barbara Cranford, Mary Lou Judy, Linda Aschbrenner, Phil Hansotia, Kris Rued- Welcome to the following new Clark, Gloria Federwitz, and Bruce Dethlefsen. The organization was excellent, members of the Wisconsin Fellowship the hotel first-rate (and a very respectable room rate, at that!) And the program of Poets that have joined since the inspiring. Spring Museletter issue: In addition to the traditional Friday-night Open Mic, and the Saturday Roll Call Poems, presenters Bill Weise and James Lee livened up the afternoon. Bill Weise Kristin Alberts Brussels blended music, drumming and audience participation in his demonstration on Edward DiMaio Egg Harbor using the spiritual energy inside us to open new creative possibilities. James Lee, Earle Garber Wisconsin Rapids Daniel Greene Smith Madison award-winning Madison poet, recited from his own high-energy works and used Kathleen Grieger Menomonee Falls audience-generated images in a spontaneous performance poem at the end of his Lincoln Hartford New Lisbon presentation. -
William Bronk
Neither Us nor Them: Poetry Anthologies, Canon Building and the Silencing of William Bronk David Clippinger Argotist Ebooks 2 * Cover image by Daniel Leary Copyright © David Clippinger 2012 All rights reserved Argotist Ebooks * Bill in a Red Chair, monotype, 20” x 16” © Daniel Leary 1997 3 The surest, and often the only, way by which a crowd can preserve itself lies in the existence of a second crowd to which it is related. Whether the two crowds confront each other as rivals in a game, or as a serious threat to each other, the sight, or simply the powerful image of the second crowd, prevents the disintegration of the first. As long as all eyes are turned in the direction of the eyes opposite, knee will stand locked by knee; as long as all ears are listening for the expected shout from the other side, arms will move to a common rhythm. (Elias Canetti, Crowds and Power) 4 Neither Us nor Them: Poetry Anthologies, Canon Building and the Silencing of William Bronk 5 Part I “So Large in His Singleness” By 1960 William Bronk had published a collection, Light and Dark (1956), and his poems had appeared in The New Yorker, Poetry, Origin, and Black Mountain Review. More, Bronk had earned the admiration of George Oppen and Charles Olson, as well as Cid Corman, editor of Origin, James Weil, editor of Elizabeth Press, and Robert Creeley. But given the rendering of the late 1950s and early 1960s poetry scene as crystallized by literary history, Bronk seems to be wholly absent—a veritable lacuna in the annals of poetry. -
Beat Women Poets and Writers: Countercultural Urban Geographies and Feminist Avant-Garde Poetics
JOURNAL OF ENGLISH STUDIES - VOLUME 14 (2016), 47-72. http://doi.org/10.18172/jes.2816 BEAT WOMEN POETS AND WRITERS: COUNTERCULTURAL URBAN GEOGRAPHIES AND FEMINIST AVANT-GARDE POETICS ISABEL CASTELAO-GÓMEZ National Distance Education University (UNED) [email protected] ABSTRACT. The work of Beat women poets and their contribution to the Beat canon was neglected for decades until the late nineties. This study presents a critical appreciation of early Beat women poets and writers’ impact on contemporary US literature drawing from theoretical tools provided by feminist literary and poetry criticism and gender studies on geography. The aim is to situate this female literary community, in specific the one of late 1950s and 1960s in New York, within the Beat generation and to analyze the characteristics of their cultural and literary phenomena, highlighting two of their most important contributions from the point of view of gender, cultural and literary studies: their negotiation of urban geographies and city space as bohemian women and writers, and their revision of Beat aesthetics through a feminist avant-garde poetics. Keywords: Beat women, women’s poetry, avant-garde poetics, feminist criticism, feminist geographies. 47 Journal of English Studies, vol. 14 (2016), 47-72 ISABEL CASTELAO-GÓMEZ MUJERES POETAS Y ESCRITORAS BEAT: GEOGRAFÍAS URBANAS CONTRACULTURALES Y POÉTICA FEMINISTA AVANT-GARDE RESUMEN. El trabajo de las mujeres poetas Beat y su contribución al canon Beat fue desatendido durante décadas hasta el final de los noventa. Este estudio presenta una apreciación crítica del impacto de las mujeres poetas y escritoras Beat en la literatura contemporánea estadounidense desde las perspectivas teóricas de la crítica feminista literaria y los estudios de género sobre espacio geográfico. -
Poetry Project Newsletter
THE POETRY PROJECT NEWSLETTER www.poetryproject.org FEB/MAR 2011 #226 LETTERS & ANNOUNCEMENTS EXCERPT GEORGE ALBON REMEMBERS DANIEL DAVIDSON POEMS PETER CULLEY ESSAY SEAN BONNEY ON ANNA MENDELSSOHN CALENDAR KAREEM ESTEFAN REVIEWS CHAPBOOKS BY FRANK O’HARA & KENNETH KOCH, ASTRID LORANGE, NATURE THEATER OF OKLAHOMA, & LISA JARNOT JESS BARBAGALLO REVIEWS DODIE BELLAMY ALLI WARREN REVIEWS JOHN COLETTI W. MARTIN REVIEWS MILTOS SACHTOURIS BARRY SCHWABSKY REVIEWS INGEBORG BACHMANN & PAUL CELAN DIANE WARD REVIEWS JANE SPRAGUE VLADISLAV DAVIDZON REVIEWS SREČKO KOSOVEL KARINNE KEITHLEY SYERS REVIEWS LESLIE SCALAPINO MATHEW TIMMONS REVIEWS STEVEN ZULTANSKI $5? 02 FEB/MAR 11 #226 THE POETRY PROJECT NEWSLETTER NEWSLETTER EDITOR: Corina Copp DISTRIBUTION: Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 The Poetry Project, Ltd. Staff ARTISTIC DIRECTOR: Stacy Szymaszek PROGRAM COORDINATOR: Arlo Quint PROGRAM ASSISTANT: Nicole Wallace MONDAY NIGHT COORDINATOR: Macgregor Card MONDAY NIGHT TALK SERIES COORDINATOR: Michael Scharf WEDNESDAY NIGHT COORDINATOR: Joanna Fuhrman FRIDAY NIGHT COORDINATORS: Brett Price SOUND TECHNICIAN: David Vogen VIDEOGRAPHER: Alex Abelson BOOKKEEPER: Stephen Rosenthal ARCHIVIST: Will Edmiston BOX OFFICE: Courtney Frederick, Kelly Ginger, Vanessa Garver INTERNS: Nina Freeman, Stephanie Jo Elstro, Rebecca Melnyk VOLUNTEERS: Jim Behrle, Rachel Chatham, Corinne Dekkers, Ivy Johnson, Erica Kaufman, Christine Kelly, Ace McNamara, Annie Paradis, Christa Quint, Judah Rubin, Lauren Russell, Thomas Seely, Erica Wessmann, Alice Whitwham, Dustin Williamson The Poetry Project Newsletter is published four times a year and mailed free of charge to members of and contributors to the Poetry Project. Subscriptions are available for $25/year domestic, $45/year international. Checks should be made payable to The Poetry Project, St. Mark’s Church, 131 East 10th St., NYC, NY 10003. -
Stewart, Katie Jennifer (2007) 'A Kind of Singing in Me' : a Critical Account of Women Writers of the Beat Generation
Stewart, Katie Jennifer (2007) 'A kind of singing in me' : a critical account of women writers of the Beat generation. PhD thesis. http://theses.gla.ac.uk/2805/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] 'A Kind of Singing in Me': A Critical Account of Women Writers of the Beat Generation Katie Jennifer Stewart Thesis submitted for the degree of Doctor of Philosophy to the University of Glasgow Department of English Literature June 2007 © Katie Jennifer Stewart, 2007 ABSTRACT This thesis provides a critical account of women writers of the Beat generation. Writers such as Diane di Prima, Hettie Jones, Joanne Kyger, Joyce Johnson, Bonnie Bremser, and Janine Pommy Vega were part of the 1950s Beat literary culture and had social relationships with the more famous male Beat writers such as Jack Kerouac and Allen Ginsberg. To differing degrees the women writers have also been influenced by the aesthetics of the male writers, and since the 1950s their work has been contextualised alongside the men's in literary magazines, anthologies and more recent academic studies. -
Introduction
INTRODUCTION Charles Olson, who was born in 1910, did not publish his first poems until 1946, several years after what would prove to be the middle of his life. Indeed, from all the known evidence, he did not even begin writing poems until twenty-nine years old. Before then his overriding ambition had been to be a Melville scholar, a man of letters, a "writer. " Even in college he published only newspaper editorials, book reviews, and a single play. What prompted him to try his hand at poetry? Most likely, as with many poets, it was a gradual awakening, an evolution, rather than an incident along the road to Damascus or a Caedmonic dream. One can be sure it was not encouragement from his early mentor, Edward Dahlberg, who had such an antipathy to modern poetry. Nor was it a directive from Ezra Pound, whom Olson began visiting in 1946, for he had already written many of the poems in the early pages of this edition. We may never know for certain. All he ever said was that it was overhearing the talk of Gloucester fishermen as a boy, on summer evenings, that made him a poet. It never even occurred to me to ask. He just seemed so completely and classically a poet, filling out the role as he did any space or company with his physical and imaginative presence. There was—and is—hardly room for thought of him otherwise. There is, therefore, no section ofjuvenilia in this collection, although some of the earliest poems in their apparent simplicity are those of a beginner. -
The “Objectivists”: a Website Dedicated to the “Objectivist” Poets by Steel Wagstaff a Dissertation Submitted in Partial
The “Objectivists”: A Website Dedicated to the “Objectivist” Poets By Steel Wagstaff A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English) at the UNIVERSITY OF WISCONSIN‐MADISON 2018 Date of final oral examination: 5/4/2018 The dissertation is approved by the following members of the Final Oral Committee: Lynn Keller, Professor, English Tim Yu, Associate Professor, English Mark Vareschi, Assistant Professor, English David Pavelich, Director of Special Collections, UW-Madison Libraries © Copyright by Steel Wagstaff 2018 Original portions of this project licensed under a CC BY-SA 4.0 license. All Louis Zukofsky materials copyright © Musical Observations, Inc. Used by permission. i TABLE OF CONTENTS Acknowledgements ..................................................................................... vi Abstract ................................................................................................... vii Introduction ............................................................................................... 1 The Lives ................................................................................................ 31 Who were the “Objectivists”? .............................................................................................................................. 31 Core “Objectivists” .............................................................................................................................................. 31 The Formation of the “Objectivist” -
Robert Creeley's Writing/Reading of Wallace Stevens
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Gleeson Library Faculty and Staff Research and Gleeson Library | Geschke Center Scholarship 2011 “A consistently useful measure”: Robert Creeley’s Writing/Reading of Wallace Stevens Patrick James Dunagan Follow this and additional works at: https://repository.usfca.edu/librarian Part of the Poetry Commons Fulcrum 7 (2011) “A consistently useful measure”1: Robert Creeley’s Writing/Reading of Wallace Stevens Patrick James Dunagan While William Carlos Williams is the immediate literary predecessor often associated with having early influence on the work of Robert Creeley, Wallace Stevens, beginning in Creeley’s first letters in the early 1950s to the poet Charles Olson, and re-emerging in his later work, makes several appearances in the printed record. References to Stevens culminate in the final section of Creeley’s long poem “Histoire de Florida,” published in 1996, the beginning of the last decade of his life, where lines from Stevens’ “Anecdote of the Jar” (a poem which, as will be shown, remained central to Creeley throughout his life) are quoted alternating with Creeley’s own. Although, as Creeley admits, “much of [his] own initial writing, both prose and poetry, used Stevens as a model” (“The the” 121), the earliest direct reference in poetry does not appear until decades later with his poem “For John Duff” out of his collection Later published in 1979, which summons from the very same Stevens poem the line “I placed a jar in Tennessee. .” as an initiating stance (Collected 169). These references to Stevens in Creeley’s work expand and reflect on Creeley’s belief that, as he put it, “Stevens, in Williams’ phrase, thought with his poem” (“In Respect” 50). -
Front Matter
Cambridge University Press 978-1-107-18445-9 — The Cambridge Companion to the Beats Edited by Steven Belletto Frontmatter More Information i The Cambridge Companion to the Beats The Cambridge Companion to the Beats offers an in- depth overview of one of the most innovative and popular literary periods in America, the Beat era. The Beats were a literary and cultural phenomenon originating in New York City in the 1940s that reached worldwide signii cance. Although its most well- known i gures remain Jack Kerouac, Allen Ginsberg, and William S. Burroughs, the Beat Movement radiates out to encompass a rich diversity of i gures and texts that merit further study. Consummate innovators, the Beats had a profound effect not only on the direction of American literature but also on models of sociopolitical critique that would become more widespread in the 1960s and beyond. Bringing together the most inl uential Beat scholars writing today, this Companion provides a comprehensive exploration of the Beat Movement, asking critical questions about its associated i gures and arguing for their importance to postwar American letters. Steven Belletto is Associate Professor of English at Lafayette College. He is the author of No Accident, Comrade: Chance and Design in Cold War American Narratives (2012) and a co- editor of American Literature and Culture in an Age of Cold War: A Critical Reassessment (2012). The author of numerous articles on post- 1945 American literature and culture that have appeared in journals such as American Literature , American Quarterly , ELH , and Twentieth- Century Literature , from 2011 to 2016 he was associate editor of the journal Contemporary Literature , and is currently an editor there. -
Lorine Niedecker 2016 Collection Hoard Historical Museum Fort
Lorine Niedecker 2016 Collection Hoard Historical Museum Fort Atkinson, Wisconsin This collection is from Lorine Niedecker’s personal library, brought to the museum shortly after her death by her husband Albert Millen. The materials were borrowed and returned to the museum in 2016. COLLECTION NOTES - Ann Engelman, Friends of Lorine Niedecker, January 2017 I was honored to catalogue the contents of this box. (2x2’ cardboard) I believe these materials to be from Lorine Niedecker’s library, donated to the museum by her husband Albert Millen shortly after Lorine’s death, per Merrilee Lee, Director, Hoard Historical Museum. Loaned out, the materials were returned in 2017. Notes on the Master List, made specifically by me are indicated “ae.” I was careful about assumptions - what was in Lorine’s hand or someone else’s and noted these. Margot Peters and Karl Gartung also assisted. The two Nidecker My Friend Tree chapbooks were clearly mailed to the researcher who returned these materials and the Niedecker T&G book has his name in it. The assumption is that these did not belong to Lorine but were added, gratefully, to the box contents on return. There were also 3x5 cards that have handwriting that is not Lorine’s. There may be other instances and notes were made accordingly. All contents were very dusty. Damaged conditions, minimal, were noted. I was surprised and delighted how many chap books and books were inscribed to Lorine by their authors. Jargon Press was well represented. The number and variety of small press publishers is impressive. There are many chap books and books by Louis Zukofsky, Jonathans Williams, Ian Hamilton Finley and others. -
Three Essays by Lorine Niedecker
Three Essays by Lorine Niedecker The Poetry of Louis Zukofsky The Poetry of Cid Corman A review of Louis Zukofsky’s A Test of Poetry published by the Electronic Poetry Center of the Poetics Program at SUNY-Buffalo with permission / (c) Cid Corman, literary executor for Lorine Niedecker edited by Jenny Penberthy & typeset by Patrick F. Durgin http://epc.buffalo.edu/authors/niedecker/ May, 2002 The Poetry of Louis Zukofsky To record and elate for all time . (poems) based on nothing less than the world, the entire humanly known world. * * * Good verse is determined by the poet’s susceptibilities involving a precise awareness of differences, forms and possibilities of existence — words with their own attractions in- cluded. The poet, no less than the scientist, works on the assumption that inert and live things and relations hold enough interest to keep him alive as part of nature. * * * Felt deeply, poems like all things have the possibilities of elements whose isotopes are yet to be found. Light has travelled and so looked forward. Poetry — For My Son When He Can Read Twenty-five years before he wrote these statements in behalf of poetry, Zukofsky began his long poem “A.” It was strange at that moment of time and at that point in space. Many writers and readers, unless travelling at the same speed, have lost contact with “A” and some who wore dark glasses then are now beginning to see. It is understandable that Lawrence Durrell, living in countries other than the United States and so probably unaware of “A,” should be thinking now along the same lines: “Time has become . -
Cid Corman Letters to Frank Samperi
http://oac.cdlib.org/findaid/ark:/13030/kt587034hc No online items Inventory of the Cid Corman Letters to Frank Samperi, Sara Gunasekara Department of Special Collections General Library University of California, Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2008 The Regents of the University of California. All rights reserved. Inventory of the Cid Corman MC013 1 Letters to Frank Samperi, Creator: Corman, Cid Title: Cid Corman Letters to Frank Samperi, Date (inclusive): 1972-1975 Extent: 120 letters; 0.2 linear feet Abstract: Cid Corman (1924-2004) poet, editor, and translator, was the founder of the poetry magazine Origin and the Origin Press. This collection contains 120 typescript letters to the poet Frank Samperi written by Corman, from 1972 to 1975, while Corman was in Japan. The letters discuss poetry journals and presses as well as the demands of writing and editing for publication, and specific works of Corman's, among other subjects. Physical location: Researchers should contact Special Collections to request collections, as many are stored offsite. Repository: University of California, Davis. General Library. Department of Special Collections. Davis, California 95616-5292 Collection number: MC013 Language of Material: Collection materials in English. Biography Cid Corman was born on June 29, 1924 in Boston, Massachusetts and graduated from Tufts University in 1945. He did graduate work at the University of Michigan, where he won the Hopwood Prize for poetry in 1947, and also at the University of North Carolina. In 1948, Corman returned to Boston where he started a radio program on WMEX.