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{{Short description|Group of mid-20th-century American postmodern poets}} |
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{{About|Projectivist poets|the philosophy of Projectivism|Projectivism}} |
{{About|Projectivist poets|the philosophy of Projectivism|Projectivism}} |
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[[File:Charlesolson.jpg|thumb|[[Charles Olson]] was a primary figure associated with the Black Mountain poets]] |
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The '''Black Mountain poets''', sometimes called '''projectivist poets''', were a group of mid-20th-century [[Poetry of the United States|American]] ''avant-garde'' or [[postmodern]] poets centered on [[Black Mountain College]] in [[North Carolina]].<ref>Dewey, Anne Day. 2007. Beyond Maximus: the construction of public voice in Black Mountain poetry. Stanford, Calif: Stanford University Press.</ref> |
The '''Black Mountain poets''', sometimes called '''projectivist poets''', were a group of mid-20th-century [[Poetry of the United States|American]] ''avant-garde'' or [[postmodern]] poets centered on [[Black Mountain College]] in [[North Carolina]].<ref>Dewey, Anne Day. 2007. Beyond Maximus: the construction of public voice in Black Mountain poetry. Stanford, Calif: Stanford University Press.</ref> |
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==Historical background and definition== |
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{{See also|Category: Black Mountain College faculty|Category:Black Mountain College alumni}} |
{{See also|Category: Black Mountain College faculty|Category:Black Mountain College alumni}} |
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Although it lasted only twenty-three years (1933–1956) and enrolled fewer than 1,200 students, [[Black Mountain College]] was one of the most fabled experimental institutions in art education and practice. It launched a remarkable number of the artists who spearheaded the [[avant-garde]] in the America of the 1960s. It boasted an extraordinary curriculum in the [[visual arts|visual]], [[literary arts|literary]], and [[performing arts]]. |
Although it lasted only twenty-three years (1933–1956) and enrolled fewer than 1,200 students, [[Black Mountain College]] was one of the most fabled experimental institutions in art education and practice. It launched a remarkable number of the artists who spearheaded the [[avant-garde]] in the America of the 1960s. It boasted an extraordinary curriculum in the [[visual arts|visual]], [[literary arts|literary]], and [[performing arts]]. |
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The literary movement traditionally described as the "Black Mountain Poets" centered around [[Charles Olson]], who became a teacher at the college in 1948. [[Robert Creeley]], who worked as a teacher and editor of the '' Black Mountain Review'' for two years, is considered to be another major figure.<ref name=":0" /> Creeley moved to [[San Francisco]] in 1957. There, he acted as a link between the Black Mountain poets and the [[Beat generation|Beat]]s, many of whom he had published in the review.<ref name=":1">{{Cite book |last=Baldick |first=Chris |url=https://books.google.com/books?id=mp0s9GgrafUC&q=dictionary+of&pg=PA36 |title=The Oxford Dictionary of Literary Terms |publisher=Oxford University Press |year=2008 |isbn=9780199208272 |location=Oxford; New York |page=36 |author-link=Chris Baldick |access-date=26 August 2013}}</ref> Members of the Black Mountain Poets |
The literary movement traditionally described as the "Black Mountain Poets" centered around [[Charles Olson]], who became a teacher at the college in 1948. [[Robert Creeley]], who worked as a teacher and editor of the '' Black Mountain Review'' for two years, is considered to be another major figure.<ref name=":0" /> Creeley moved to [[San Francisco]] in 1957. There, he acted as a link between the Black Mountain poets and the [[Beat generation|Beat]]s, many of whom he had published in the review.<ref name=":1">{{Cite book |last=Baldick |first=Chris |url=https://books.google.com/books?id=mp0s9GgrafUC&q=dictionary+of&pg=PA36 |title=The Oxford Dictionary of Literary Terms |publisher=Oxford University Press |year=2008 |isbn=9780199208272 |location=Oxford; New York |page=36 |author-link=Chris Baldick |access-date=26 August 2013}}</ref> Members of the Black Mountain Poets include students and teachers at Black Mountain, together with their friends and correspondents.<ref name=":0" /> |
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| ⚫ | The term was first coined by [[Donald Allen]] in his anthology ''[[The New American Poetry 1945–1960]]'' (which divides the poets included in its pages into various ''schools''). He included Olson, Creeley, [[Ed Dorn]], [[Robert Duncan (poet)|Robert Duncan]], [[Denise Levertov]], [[Larry Eigner]], [[Joel Oppenheimer]], [[Jonathan Williams (poet)|Jonathan Williams]], [[Paul Blackburn (US poet)|Paul Blackburn]], and [[Paul Carroll (poet)|Paul Carroll]] in its members.<ref>{{Citation |last=Schutz |first=Lacy |title=Black Mountain Poetry |date=2017-07-26 |encyclopedia=Oxford Research Encyclopedia of Literature |url=https://oxfordre.com/literature/oso/viewentry/10.1093$002facrefore$002f9780190201098.001.0001$002facrefore-9780190201098-e-580 |access-date=2024-02-16 |language=en |isbn=978-0-19-020109-8}}</ref> Allen's definition of the Black Mountain poets proved to be crucial: it established a legacy and promoted their literary influence worldwide.<ref name=":1" /> |
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| ⚫ | However, the exact definition of the group is considered disputable. Olson described the term as "bullshit" and stated that they never considered themselves a particular "clique" or had a particular form of [[poetics]].<ref name=":0">{{Cite web |last=Creasy |first=Jonathan C. |date=2019-11-26 |title=Redefining the Black Mountain Poets |url=https://www.theparisreview.org/blog/2019/11/26/redefining-the-black-mountain-poets/ |access-date=2024-02-16 |website=The Paris Review |language=en}}</ref> Other principal figures often included in the Black Mountain poets include [[John Wieners]], [[M. C. Richards]],<ref>{{Cite web |last=Mambrol |first=Nasrullah |date=2020-07-10 |title=Black Mountain School of Poetry |url=https://literariness.org/2020/07/10/black-mountain-school-of-poetry/ |access-date=2024-02-16 |website=Literary Theory and Criticism |language=en-US}}</ref> [[Hilda Morley]],<ref name=":1" /> [[Francine du Plessix Gray]],<ref name=":2">{{Cite web |last=Nelson |first=Max |date=2016-07-20 |title=The Last of the Iron Men |url=https://thepointmag.com/criticism/last-iron-men/ |access-date=2024-02-16 |website=The Point Magazine |language=en-US}}</ref> [[Fielding Dawson]], [[Paul Goodman (writer)|Paul Goodman]], and [[Arthur Penn]]. |
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| ⚫ | The term was first coined by [[Donald Allen]] in his anthology ''[[The New American Poetry 1945–1960]]'' (which divides the poets included in its pages into various ''schools''). He included Olson, Creeley, [[Ed Dorn]], [[Robert Duncan (poet)|Robert Duncan]], [[Denise Levertov]], [[Larry Eigner]], [[Joel Oppenheimer]], [[Jonathan Williams (poet)|Jonathan Williams]], [[Paul Blackburn (US poet)|Paul Blackburn]], and [[Paul Carroll (poet)|Paul Carroll]] in its members.<ref>{{Citation |last=Schutz |first=Lacy |title=Black Mountain Poetry |date=2017-07-26 | |
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== Poetics == |
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| ⚫ | However, the exact definition of the group is considered disputable. Olson described the term as "bullshit" and stated that they never considered themselves a particular "clique" or had a particular |
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The Black Mountain poets were largely free of literary convention, a feature which defined contemporary American poets.<ref name=":2" /> Their work became characterized by open form.<ref name=":1" /> Olson's pedagogical approach to poetry emphasized the importance of personal experience and direct observation, something which greatly influenced the Black Mountain poets.<ref>{{Cite web |last=Journal |date=2020-10-01 |title=Olson's Poetics and Pedagogy: Influences at Black Mountain College |url=https://www.blackmountaincollege.org/olsons-poetics-and-pedagogy/ |access-date=2024-02-16 |website=Black Mountain College Museum + Arts Center |language=en}}</ref> Many of the Black Mountain poets, including Levertov, Duncan, and Dorn, explored individual agency's potential to affect collective change through their political poetry.<ref>{{Cite book |last=Dewey |first=Anne Day |date=2007-08-24 |title=Beyond Maximus |url=http://dx.doi.org/10.1515/9781503626584 |pages=155 |doi=10.1515/9781503626584|isbn=978-1-5036-2658-4 |s2cid=246270591 }}</ref> |
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==Projective verse== |
=== Projective verse === |
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In [[1950 in poetry|1950]], |
In [[1950 in poetry|1950]], Charles Olson published his seminal essay, ''[[Projective Verse]]''. In this, he called for a poetry of "open field" composition to replace traditional closed poetic forms with an improvised form that should reflect exactly the content of the poem. This form was to be based on the line, and each line was to be a unit of breath and of utterance.<ref name=":0" /> Olson felt that English poetry had become restricted by meter, syntax and rhyme instead of embracing the more natural constraints of breath and syllables which he felt would define true American poetics.<ref name=":2" /> The content was to consist of "one perception immediately and directly (leading) to a further perception". This essay was to become a kind of ''de facto'' manifesto for the Black Mountain poets. One of the effects of narrowing the unit of structure in the poem down to what could fit within an utterance was that the Black Mountain poets developed a distinctive style of poetic diction (e.g. "yr" for "your").{{Citation needed|date=November 2009}} |
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==Legacy== |
==Legacy== |
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Apart from their strong interconnections with the Beats, the Black Mountain poets influenced the course of later American poetry via their importance for the poets later identified with the [[Language poets|Language School]]. They were also important for the development of innovative [[British |
Apart from their strong interconnections with the Beats, the Black Mountain poets influenced the course of later American poetry via their importance for the poets later identified with the [[Language poets|Language School]].<ref>{{Cite web |last=Journal |date=2020-10-01 |title=The Centrality of Black Mountain Poetry |url=https://www.blackmountaincollege.org/centrality-of-black-mountain-poetry/ |access-date=2024-02-29 |website=Black Mountain College Museum + Arts Center |language=en}}</ref> They were also important for the development of the innovative [[British Poetry Revival]] of the 1960s,<ref>{{Cite book |last=Kolocotroni |first=Vassiliki |url=https://books.google.com/books?id=dplKEAAAQBAJ&dq=black+mountain+poets+raworth&pg=PA50 |title=Edinburgh Dictionary of Modernism |date=2017-12-20 |publisher=Edinburgh University Press |isbn=978-0-7486-3704-1 |pages=50–51 |language=en}}</ref> as evidenced by such poets as [[Tom Raworth]] and [[J. H. Prynne]]. In [[Canadian poetry|Canada]], the [[Vancouver]]-based ''[[TISH]]'' group, including [[George Bowering]] and [[Daphne Marlatt]], were heavily influenced by the Black Mountain poets. Modern projectivist poets include [[Charles Potts]].<ref>{{Cite journal |last=Sinha |first=Parthiva |date=September 2022 |title=Black Mountain Poets |url=https://ijrpr.com/uploads/V3ISSUE9/IJRPR7192.pdf |journal=International Journal of Research Publication and Reviews |volume=3 |issue=9}}</ref> |
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==References== |
==References== |
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*Harris, Mary Emma. ''The Arts at Black Mountain College''. MIT Press, 2002. {{ISBN|0-262-58212-0}} |
*Harris, Mary Emma. ''The Arts at Black Mountain College''. MIT Press, 2002. {{ISBN|0-262-58212-0}} |
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*Katz, Vincent (editor). ''Black Mountain College: Experiment in Art''. MIT Press, 2003. {{ISBN|0-262-11279-5}} |
*Katz, Vincent (editor). ''Black Mountain College: Experiment in Art''. MIT Press, 2003. {{ISBN|0-262-11279-5}} |
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*Dewey, Anne. "Beyond |
*Dewey, Anne. "Beyond Maximus: The Construction of Public Voice in Black Mountain Poetry." Stanford U Press, 2007. {{ISBN|978-0804756471}} |
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==External links== |
==External links== |
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*[http://www.blackmountaincollege.org blackmountaincollege.org ] |
*[http://www.blackmountaincollege.org blackmountaincollege.org ] |
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*[https://web.archive.org/web/20051108204718/http://wiredforbooks.org/robertcreeley/ 1984 audio interview with Robert Creeley by Don Swaim of CBS Radio] |
*{{usurped|1=[https://web.archive.org/web/20051108204718/http://wiredforbooks.org/robertcreeley/ 1984 audio interview with Robert Creeley by Don Swaim of CBS Radio]}} |
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*[http://www.poetryfoundation.org/learning/essay/237880 ''Projective Verse'' essay by Charles Olson ] |
*[http://www.poetryfoundation.org/learning/essay/237880 ''Projective Verse'' essay by Charles Olson ] |
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Latest revision as of 22:37, 20 December 2024
The Black Mountain poets, sometimes called projectivist poets, were a group of mid-20th-century American avant-garde or postmodern poets centered on Black Mountain College in North Carolina.[1]
Historical background and definition
[edit]Although it lasted only twenty-three years (1933–1956) and enrolled fewer than 1,200 students, Black Mountain College was one of the most fabled experimental institutions in art education and practice. It launched a remarkable number of the artists who spearheaded the avant-garde in the America of the 1960s. It boasted an extraordinary curriculum in the visual, literary, and performing arts.
The literary movement traditionally described as the "Black Mountain Poets" centered around Charles Olson, who became a teacher at the college in 1948. Robert Creeley, who worked as a teacher and editor of the Black Mountain Review for two years, is considered to be another major figure.[2] Creeley moved to San Francisco in 1957. There, he acted as a link between the Black Mountain poets and the Beats, many of whom he had published in the review.[3] Members of the Black Mountain Poets include students and teachers at Black Mountain, together with their friends and correspondents.[2]
The term was first coined by Donald Allen in his anthology The New American Poetry 1945–1960 (which divides the poets included in its pages into various schools). He included Olson, Creeley, Ed Dorn, Robert Duncan, Denise Levertov, Larry Eigner, Joel Oppenheimer, Jonathan Williams, Paul Blackburn, and Paul Carroll in its members.[4] Allen's definition of the Black Mountain poets proved to be crucial: it established a legacy and promoted their literary influence worldwide.[3]
However, the exact definition of the group is considered disputable. Olson described the term as "bullshit" and stated that they never considered themselves a particular "clique" or had a particular form of poetics.[2] Other principal figures often included in the Black Mountain poets include John Wieners, M. C. Richards,[5] Hilda Morley,[3] Francine du Plessix Gray,[6] Fielding Dawson, Paul Goodman, and Arthur Penn.
Poetics
[edit]The Black Mountain poets were largely free of literary convention, a feature which defined contemporary American poets.[6] Their work became characterized by open form.[3] Olson's pedagogical approach to poetry emphasized the importance of personal experience and direct observation, something which greatly influenced the Black Mountain poets.[7] Many of the Black Mountain poets, including Levertov, Duncan, and Dorn, explored individual agency's potential to affect collective change through their political poetry.[8]
Projective verse
[edit]In 1950, Charles Olson published his seminal essay, Projective Verse. In this, he called for a poetry of "open field" composition to replace traditional closed poetic forms with an improvised form that should reflect exactly the content of the poem. This form was to be based on the line, and each line was to be a unit of breath and of utterance.[2] Olson felt that English poetry had become restricted by meter, syntax and rhyme instead of embracing the more natural constraints of breath and syllables which he felt would define true American poetics.[6] The content was to consist of "one perception immediately and directly (leading) to a further perception". This essay was to become a kind of de facto manifesto for the Black Mountain poets. One of the effects of narrowing the unit of structure in the poem down to what could fit within an utterance was that the Black Mountain poets developed a distinctive style of poetic diction (e.g. "yr" for "your").[citation needed]
Legacy
[edit]Apart from their strong interconnections with the Beats, the Black Mountain poets influenced the course of later American poetry via their importance for the poets later identified with the Language School.[9] They were also important for the development of the innovative British Poetry Revival of the 1960s,[10] as evidenced by such poets as Tom Raworth and J. H. Prynne. In Canada, the Vancouver-based TISH group, including George Bowering and Daphne Marlatt, were heavily influenced by the Black Mountain poets. Modern projectivist poets include Charles Potts.[11]
References
[edit]- ^ Dewey, Anne Day. 2007. Beyond Maximus: the construction of public voice in Black Mountain poetry. Stanford, Calif: Stanford University Press.
- ^ a b c d Creasy, Jonathan C. (2019-11-26). "Redefining the Black Mountain Poets". The Paris Review. Retrieved 2024-02-16.
- ^ a b c d Baldick, Chris (2008). The Oxford Dictionary of Literary Terms. Oxford; New York: Oxford University Press. p. 36. ISBN 9780199208272. Retrieved 26 August 2013.
- ^ Schutz, Lacy (2017-07-26), "Black Mountain Poetry", Oxford Research Encyclopedia of Literature, ISBN 978-0-19-020109-8, retrieved 2024-02-16
- ^ Mambrol, Nasrullah (2020-07-10). "Black Mountain School of Poetry". Literary Theory and Criticism. Retrieved 2024-02-16.
- ^ a b c Nelson, Max (2016-07-20). "The Last of the Iron Men". The Point Magazine. Retrieved 2024-02-16.
- ^ Journal (2020-10-01). "Olson's Poetics and Pedagogy: Influences at Black Mountain College". Black Mountain College Museum + Arts Center. Retrieved 2024-02-16.
- ^ Dewey, Anne Day (2007-08-24). Beyond Maximus. p. 155. doi:10.1515/9781503626584. ISBN 978-1-5036-2658-4. S2CID 246270591.
- ^ Journal (2020-10-01). "The Centrality of Black Mountain Poetry". Black Mountain College Museum + Arts Center. Retrieved 2024-02-29.
- ^ Kolocotroni, Vassiliki (2017-12-20). Edinburgh Dictionary of Modernism. Edinburgh University Press. pp. 50–51. ISBN 978-0-7486-3704-1.
- ^ Sinha, Parthiva (September 2022). "Black Mountain Poets" (PDF). International Journal of Research Publication and Reviews. 3 (9).
Further reading
[edit]- Dawson, Fielding The Black Mountain Book. Croton Press, Ltd., NY 1970 Library of Congress Catalog Number: 70-135203
- Edith C. Blum Art Institute. 1987. The Black Mountain poets: the emergence of an American school of poetics, June 26–28, 1987. Annandale-on-Hudson, NY: Edith C. Blum Art Institute, Bard College.
- Harris, Mary Emma. The Arts at Black Mountain College. MIT Press, 2002. ISBN 0-262-58212-0
- Katz, Vincent (editor). Black Mountain College: Experiment in Art. MIT Press, 2003. ISBN 0-262-11279-5
- Dewey, Anne. "Beyond Maximus: The Construction of Public Voice in Black Mountain Poetry." Stanford U Press, 2007. ISBN 978-0804756471
External links
[edit]- blackmountaincollege.org
- 1984 audio interview with Robert Creeley by Don Swaim of CBS Radio[usurped]
- Projective Verse essay by Charles Olson
