Alan Golding | University of Louisville (original) (raw)
Papers by Alan Golding
A Poetics
American Literature, Mar 1, 1993
Authority, Marginality, England, and Ireland in the Work of Susan Howe
Something We Have That They Don't
Bold, A. ed., Dylan Thomas: Craft or Sullen Art
Notes and Queries, 1992
Edward Dorn’s “Pontificatory use of the art”
University of California Press eBooks, Apr 28, 2023
6 Recent American Poetry Anthologies and the Idea of the ‘Mainstream’
Poetry And Contemporary Culture
New World Poetics: Nature and the Adamic Imagination of Whitman, Neruda, and Walcott; Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995; Singing in a Strange Land: A Jewish American Poetics
American Literature, 2010
Page 2. New World Poetics Page 3. Nature and the Adamic Imagination of Whitman, Neruda, and Walco... more Page 2. New World Poetics Page 3. Nature and the Adamic Imagination of Whitman, Neruda, and Walcott Page 4. ... 2. Neruda, Pablo, 1904-1973Criticism and interpretation. 3. Walcott, Derek Criticism and interpretation. 4. American poetry19th century History and criticism ...
A Coherent Splendor: The American Poetic Renaissance, 1910-1950
American Literature, 1988
Zukofsky stresses "Objectivist" over "Objectivism" (a term he is careful to avoid) since "the int... more Zukofsky stresses "Objectivist" over "Objectivism" (a term he is careful to avoid) since "the interest of the issue was. .. NOT in a movement" but in certain forms and qualities of poetic attention. In his definition, "Objectivist" refers to the "desire for what is objectively perfect, inextricably the direction of historic and contemporary particulars." 2 Out of this desire, "writing occurs which is the detail, not mirage, of seeing, of thinking with the things as they exist, and of directing them along a line of melody." 3 What is commonly emphasized in this formulation is the first phrase, "the detail, not mirage, of seeing," accurate rendition of the image, but in the interests of my argument here, which requires a capacious definition of the term "things," I'd like to stress equally the second: "thinking with the things as they exist." 4 These are the features of "sincerity," moving toward-in the best-realized poetic work-what Zukofsky calls the "rested totality" of "objectification-the apprehension satisfied completely as to the appearance of the art form as an object," "writing. .. which is an object or affects the mind as such." 5 Sincerity also involves the art of omission, of the cut or the gap that is central to serial form: "When sincerity in writing is present the insincere may be cut out at will and information, not ignorance, remains." 6 As a way of seeing and of embodying those perceptions in poetic form, then, Objectivist sincerity moves toward seriality. In "'Recencies' in Poetry," the introduction to his 1932 An "Objectivists" Anthology, Zukofsky expands upon some of these principles in ways relevant to a major experiment in post-Objectivist serial form, Rachel Blau DuPlessis' Drafts. More than in his previous essays, Zukofsky emphasizes what he calls "context-The context necessarily dealing with a world outside" of the poem. 7 The Objectivist poem-as-object is here "an inclusive object," "binding up and bound up with events and contingencies," socially embedded by definition. 8 George Oppen writes similarly, many years later, that the "act of perception" is "a test of sincerity, a test of conviction" projecting "the sense of the poet's self among things." 9 This location of the poem in a social world was always implicit in Zukofsky's "historic and contemporary particulars," but it becomes explicit in his later formulation in a way important for thinking about DuPlessis' socially saturated work. In the introduction to their germinal essay collection, The Objectivist Nexus, DuPlessis and Peter Quartermain review the basic principles of the poetics in question: "the term 'Objectivist' has come to mean a non-symbolist, post-imagist poetics, characterized by a historical, realist, antimythological worldview, one in which 'the detail, not mirage' calls attention to the materiality of both the world and the word." 10 They go on to connect
Drafts and Fragments Rachel Blau Duplessis Counter Poundian Project
What about all this writing?': Williams and alternative poetics
Textual Practice, 2004
'[W]riting deals with words and words only and . . . all discussions of it deal with singl... more '[W]riting deals with words and words only and . . . all discussions of it deal with single words and their association in groups'; 'the only real in writing is writing itself'.1 'But can you not see, can you not taste, can you not smell, can you not hear, can you not touch words? . . ...
Time to Translate Modernism into a Contemporary Idiom": Pedagogy, Poetics, and Bob Perelman's Pound
Shofar: An Interdisciplinary Journal of Jewish Studies, 2009
Central to the work of avant-garde US American poets from Ezra Pound to the present have been con... more Central to the work of avant-garde US American poets from Ezra Pound to the present have been continuing conflicts between didacticism and coterie exclusiveness, and over the poet's relationship to pedagogical institutions. Within the contemporary poet Bob Perelman's ongoing ...
Journal of Modern Literature, 2010
Ezra Pound's sense of himself as poet-pedagogue-including his insistent desire to reform American... more Ezra Pound's sense of himself as poet-pedagogue-including his insistent desire to reform American higher education-is inseparable from his literary avant-gardism and his commitment to the principle of " discovery" or "newness." This connection between experimental poetics and pedagogy forms a central part both of Pound's significance as a writer and of his influence on a later avant-gardist and didact like Charles Olson, and anticipates the complexities of the subsequent relationship between American poetic avant-gardes and the academy. Olson was both a teacher at and rector of Black Mountain College, and in an unlikely conjunction, the forms of his institutional life enter the forms of his avant-garde poetics in major poems like "The Praises." At the same time, his work embodies a continuing conflict within avant-garde poetics that is central equally to him and Pound: the conflict between the (public) didactic impulse and the (private) impulse toward preservation of coterie.
6. Edward Dorn's "Pontificatory use of the art": Hello, La Jolla and Yellow Lola
Internal Resistances
Unoriginal Genius: Poetry by Other Means in the New Century by Marjorie Perloff (review)
Comparative Literature Studies, 2013
The Iowa Review, 2002
think somehow something happened to us where we learned about it or stumbled onto it. I'm not at ... more think somehow something happened to us where we learned about it or stumbled onto it. I'm not at all close to finishing this thought, because it's so contradictory, but there's the scandal, the trans gress?e, the theoretical overturning and debunking, that also does lead, in theory and sometimes in practice too, to exhilaration, and there are various states of exhilaration and good feeling. 125
Language Writing, Digital Poetics, and Transitional Materialities
New Media Poetics: Contexts, Technotexts, and …, 2006
... letter shapes(434),3 dimensional syntax(437), and a network of non-linear signifiers(436... more ... letter shapes(434),3 dimensional syntax(437), and a network of non-linear signifiers(436 ... In another close-up, the words problems and uncertainty form a frantic dancing palimpsest over their ... ellipsis in original].) In his account, at a certain point in his career, typing came to ...
A Poetics
American Literature, Mar 1, 1993
Authority, Marginality, England, and Ireland in the Work of Susan Howe
Something We Have That They Don't
Bold, A. ed., Dylan Thomas: Craft or Sullen Art
Notes and Queries, 1992
Edward Dorn’s “Pontificatory use of the art”
University of California Press eBooks, Apr 28, 2023
6 Recent American Poetry Anthologies and the Idea of the ‘Mainstream’
Poetry And Contemporary Culture
New World Poetics: Nature and the Adamic Imagination of Whitman, Neruda, and Walcott; Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995; Singing in a Strange Land: A Jewish American Poetics
American Literature, 2010
Page 2. New World Poetics Page 3. Nature and the Adamic Imagination of Whitman, Neruda, and Walco... more Page 2. New World Poetics Page 3. Nature and the Adamic Imagination of Whitman, Neruda, and Walcott Page 4. ... 2. Neruda, Pablo, 1904-1973Criticism and interpretation. 3. Walcott, Derek Criticism and interpretation. 4. American poetry19th century History and criticism ...
A Coherent Splendor: The American Poetic Renaissance, 1910-1950
American Literature, 1988
Zukofsky stresses "Objectivist" over "Objectivism" (a term he is careful to avoid) since "the int... more Zukofsky stresses "Objectivist" over "Objectivism" (a term he is careful to avoid) since "the interest of the issue was. .. NOT in a movement" but in certain forms and qualities of poetic attention. In his definition, "Objectivist" refers to the "desire for what is objectively perfect, inextricably the direction of historic and contemporary particulars." 2 Out of this desire, "writing occurs which is the detail, not mirage, of seeing, of thinking with the things as they exist, and of directing them along a line of melody." 3 What is commonly emphasized in this formulation is the first phrase, "the detail, not mirage, of seeing," accurate rendition of the image, but in the interests of my argument here, which requires a capacious definition of the term "things," I'd like to stress equally the second: "thinking with the things as they exist." 4 These are the features of "sincerity," moving toward-in the best-realized poetic work-what Zukofsky calls the "rested totality" of "objectification-the apprehension satisfied completely as to the appearance of the art form as an object," "writing. .. which is an object or affects the mind as such." 5 Sincerity also involves the art of omission, of the cut or the gap that is central to serial form: "When sincerity in writing is present the insincere may be cut out at will and information, not ignorance, remains." 6 As a way of seeing and of embodying those perceptions in poetic form, then, Objectivist sincerity moves toward seriality. In "'Recencies' in Poetry," the introduction to his 1932 An "Objectivists" Anthology, Zukofsky expands upon some of these principles in ways relevant to a major experiment in post-Objectivist serial form, Rachel Blau DuPlessis' Drafts. More than in his previous essays, Zukofsky emphasizes what he calls "context-The context necessarily dealing with a world outside" of the poem. 7 The Objectivist poem-as-object is here "an inclusive object," "binding up and bound up with events and contingencies," socially embedded by definition. 8 George Oppen writes similarly, many years later, that the "act of perception" is "a test of sincerity, a test of conviction" projecting "the sense of the poet's self among things." 9 This location of the poem in a social world was always implicit in Zukofsky's "historic and contemporary particulars," but it becomes explicit in his later formulation in a way important for thinking about DuPlessis' socially saturated work. In the introduction to their germinal essay collection, The Objectivist Nexus, DuPlessis and Peter Quartermain review the basic principles of the poetics in question: "the term 'Objectivist' has come to mean a non-symbolist, post-imagist poetics, characterized by a historical, realist, antimythological worldview, one in which 'the detail, not mirage' calls attention to the materiality of both the world and the word." 10 They go on to connect
Drafts and Fragments Rachel Blau Duplessis Counter Poundian Project
What about all this writing?': Williams and alternative poetics
Textual Practice, 2004
'[W]riting deals with words and words only and . . . all discussions of it deal with singl... more '[W]riting deals with words and words only and . . . all discussions of it deal with single words and their association in groups'; 'the only real in writing is writing itself'.1 'But can you not see, can you not taste, can you not smell, can you not hear, can you not touch words? . . ...
Time to Translate Modernism into a Contemporary Idiom": Pedagogy, Poetics, and Bob Perelman's Pound
Shofar: An Interdisciplinary Journal of Jewish Studies, 2009
Central to the work of avant-garde US American poets from Ezra Pound to the present have been con... more Central to the work of avant-garde US American poets from Ezra Pound to the present have been continuing conflicts between didacticism and coterie exclusiveness, and over the poet's relationship to pedagogical institutions. Within the contemporary poet Bob Perelman's ongoing ...
Journal of Modern Literature, 2010
Ezra Pound's sense of himself as poet-pedagogue-including his insistent desire to reform American... more Ezra Pound's sense of himself as poet-pedagogue-including his insistent desire to reform American higher education-is inseparable from his literary avant-gardism and his commitment to the principle of " discovery" or "newness." This connection between experimental poetics and pedagogy forms a central part both of Pound's significance as a writer and of his influence on a later avant-gardist and didact like Charles Olson, and anticipates the complexities of the subsequent relationship between American poetic avant-gardes and the academy. Olson was both a teacher at and rector of Black Mountain College, and in an unlikely conjunction, the forms of his institutional life enter the forms of his avant-garde poetics in major poems like "The Praises." At the same time, his work embodies a continuing conflict within avant-garde poetics that is central equally to him and Pound: the conflict between the (public) didactic impulse and the (private) impulse toward preservation of coterie.
6. Edward Dorn's "Pontificatory use of the art": Hello, La Jolla and Yellow Lola
Internal Resistances
Unoriginal Genius: Poetry by Other Means in the New Century by Marjorie Perloff (review)
Comparative Literature Studies, 2013
The Iowa Review, 2002
think somehow something happened to us where we learned about it or stumbled onto it. I'm not at ... more think somehow something happened to us where we learned about it or stumbled onto it. I'm not at all close to finishing this thought, because it's so contradictory, but there's the scandal, the trans gress?e, the theoretical overturning and debunking, that also does lead, in theory and sometimes in practice too, to exhilaration, and there are various states of exhilaration and good feeling. 125
Language Writing, Digital Poetics, and Transitional Materialities
New Media Poetics: Contexts, Technotexts, and …, 2006
... letter shapes(434),3 dimensional syntax(437), and a network of non-linear signifiers(436... more ... letter shapes(434),3 dimensional syntax(437), and a network of non-linear signifiers(436 ... In another close-up, the words problems and uncertainty form a frantic dancing palimpsest over their ... ellipsis in original].) In his account, at a certain point in his career, typing came to ...