Selected Writings of Charles Olson

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New Directions Publishing, 1966 - 280 Seiten
"In any discussion of contemporary poetics, the name of Charles Olson will almost inevitably come to the fore. An iconoclastic and controversial figure, Olson has developed theories on the writing and understanding of poetry which place him, historically, as a bridge between the first leaders of the modern movement, such as Pound and Williams, and some of the most important later innovators. This collection, drawn from many earlier books, presents Olson in the dual role of poet and theoretician. It offers a generous selection of his poetry, including his work-in-progress, The Maximus Poems. From Olson's prose writings, we have the epoch-making essay on "Projective Verse". First published in 1950, this revolutionary statement may well come to rank, as a Literary milestone, with those of Pound on Imagism and Williams on the American Idiom for poetry. There are also the perspective essay on Shakespeare's verse in the late plays, and "Human Universe," which stems from Olson's deep interest in the context of Mayan Culture as contrast to the "existential" situation of our own. The book also includes "Apollonius of Tyana,' a background script for an original dance play, and the complete text of "Mayan Letters," long out of print, a provocatively informal instance of the range and content of Olson's intelligence."-Publisher
 

Ausgewählte Seiten

Inhalt

Apollonius of Tyana
133
The K
159
Merce of Egypt
165
The Praises
174
In Cold Hell In Thicket
182
To Gerhardt There Among Europes Things of which
188
Urheberrecht

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Beliebte Passagen

Seite 43 - All this the world well knows; 'yet none knows well To shun the heaven that leads men to this hell. cxxx My mistress' eyes are nothing like the sun; Coral is far more red than her lips...
Seite 41 - Past reason hated, as a swallow'd bait On purpose laid to make the taker mad; Mad in pursuit, and in possession so; Had, having, and in quest to have, extreme; A bliss in proof...
Seite 22 - If music be the food of love, play on, Give me excess of it ; that, surfeiting, The appetite may sicken, and so die.
Seite 7 - When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of "get acquainted" period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Seite 19 - And the line comes (I swear it) from the breath, from the breathing of the man who writes, at the moment that he writes...
Seite 40 - We were as twinned lambs that did frisk i' the sun, And bleat the one at the other : what we changed, Was innocence for innocence ; we knew not The doctrine of ill-doing, nor dreamed That any did. Had we pursued that life, And our weak spirits ne'er been higher reared With stronger blood, we should have answered heaven Boldly, ' not guilty, ' the imposition cleared, Hereditary ours.
Seite 6 - Objectism is the getting rid of the lyrical interference of the individual as ego, of the "subject" and his soul, that peculiar presumption by which western man has interposed himself between what he is as a creature of nature . . . and those other creations of nature which we may . . . call objects.
Seite 23 - If he wishes a pause so light it hardly separates the words, yet does not want a comma — which is an interruption of the meaning rather than the sounding of the line — follow him when he uses a symbol the typewriter has ready to hand: "What does not change / is the will to change...
Seite 22 - What we have suffered from, is manuscript, press, the removal of verse from its producer and its reproducer, the voice, a removal by one, by two removes from its place of origin and its destination.
Seite 170 - Around an appearance, one common model, we grow up many. Else how is it, if we remain the same, we take pleasure now in what we did not take pleasure before? love contrary objects? admire and/or find fault? use other words, feel other passions, have nor figure, appearance, disposition, tissue the same? To be in different states without a change is not a possibility We can be precise.

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