Black Mountain poets: Difference between revisions
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==Projective verse== |
==Projective verse== |
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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. 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}} |
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" /> 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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Revision as of 21:22, 16 February 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]
Background and definition
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 inclyde 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]
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 theory of poetics.[2] Allen's definition of the Black Mountain poets proved to be crucial: it established a legacy and promoted their literary influence worldwide.[3] Other principal figures often included in the Black Mountain poets include John Wieners, M. C. Richards,[5] Hilda Morley,[3] Fielding Dawson, Paul Goodman, Francine du Plessix Gray, and Arthur Penn.
Projective verse
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] 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
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. They were also important for the development of innovative British poetry since the 1960s, 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.
References
- ^ 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 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.
Further reading
- 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 Maximums: The Construction of Public Voice in Black Mountain Poetry." Stanford U Press, 2007. ISBN 978-0804756471
External links
- blackmountaincollege.org
- 1984 audio interview with Robert Creeley by Don Swaim of CBS Radio
- Projective Verse essay by Charles Olson
