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The prose writings of Charles Olson (1910–1970) have had a far-reaching and continuing impact on post-World War II American poetics. Olson's theories, which made explicit the principles of his own poetics and those of the Black Mountain poets, were instrumental in defining the sense of the postmodern in poetry and form the basis of most postwar free verse. The Collected Prose brings together in one volume the works published for the most part between 1946 and 1969, many of which are now out of print. A valuable companion to editions of Olson's poetry, the book backgrounds the poetics, preoccupations, and fascinations that underpin his great poems. Included are Call Me Ishmael, a classic of American literary criticism; the influential essays "Projective Verse" and "Human Universe"; and essays, book reviews, and Olson's notes on his studies. In these pieces one can trace the development of his new science of man, called "muthologos," a radical mix of myth and phenomenology that Olson offered in opposition to the mechanistic discourse and rationalizing policy he associated with America's recent wars in Europe and Asia. Editors Donald Allen and Benjamin Friedlander offer helpful annotations throughout, and poet Robert Creeley, who enjoyed a long and mutually influential relationship with Olson, provides the book's introduction.
Author of The Maximus Poems, Rector of Black Mountain College, and quondam Democratic Party activist, Charles Olson is one of the central figures of mid-twentieth-century American poetry. Charles Olson: A Poetâ (TM)s Prose is the first book-length critical study to focus strictly on Olsonâ (TM)s prose, ranging from his groundbreaking study of Melville, Call Me Ishmael (1947), through such seminal work as â oeProjective Verseâ (1950), â oeHuman Universeâ (1951), The Special View of History (1956, 1970), â oeEqual, That Is, to the Real Itselfâ (1958), and Proprioception (1962). The eleven essays collected in this volume introduce a new generation of scholars who engage Olsonâ (TM)s thinking on gender and sexuality, human ecology, the relevance of non-Euclidean geometry and quantum physics for poetics, phenomenology and Whiteheadâ (TM)s process philosophy, and postmodernism. Olson thinks and writes against the grain of the established authorities in poetry and literary criticism, and his influence on American letters has been broad and varied. Like some Old Testament prophet or Melvilleâ (TM)s Ishmael, Olson projects a voice that is immediately distinctive, sometimes disturbing, always provocative, and often compelling. To begin to understand postmodern American poetry, one must begin with Charles Olson.
John Olson's ninth book of new poetry and prose poems, after his well received Backscatter: New and Selected Poems two years ago. Olson's prose poems have been published widely around the world and his essays are frequently seen in many of the leading in-print and on-line literary and poetry journals.
First published in 1947, this acknowledged classic of American literary criticism explores the influences—especially Shakespearean ones—on Melville’s writing of Moby-Dick. One of the first Melvilleans to advance what has since become known as the “theory of the two Moby-Dicks,” Olson argues that there were two versions of Moby-Dick, and that Melville’s reading King Lear for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: “the first book did not contain Ahab,” writes Olson, and “it may not, except incidentally, have contained Moby-Dick.” If literary critics and reviewers at the time responded with varying degrees of skepticism to the “theory of the two Moby-Dicks,” it was the experimental style and organization of the book that generated the most controversy. Passionate in his poetry, Olson was no less passionate in his reading of Melville. Impatient with what he regarded as traditional forms of literary criticism, Olson engaged his own creativity to write a book as robust, original, and compelling as Melville’s masterpiece. “Not only important, but apocalyptic.”—New York Herald Tribune “One of the most stimulating essays ever written on Moby-Dick, and for that matter on any piece of literature, and the forces behind it.”—San Francisco Chronicle “Olson has been a tireless student of Melville and every Melville lover owes him a debt for his Scotland Yard pertinacity in getting on the trail of Melville’s dispersed library.”—Lewis Mumford, New York Times “Records, often brilliantly, one way of taking the most extraordinary of American books.”—W. E. Bezanson, New England Quarterly “The most important contribution to Melville criticism since Raymond Weaver’s pioneering contribution in 1921.”—George Mayberry, New Republic
Traces the crisis period leading up to America's entry in World War II, describing the nation's polarized interventionist and isolation factions as represented by the government, in the press and on the streets, in an account that explores the forefront roles of British-supporter President Roosevelt and isolationist Charles Lindbergh. (This book was previously featured in Forecast.)
“Staying Open, Charles Olson’s Sources and Influences” investigates the inter-disciplinary influences on the work of the mid-Century American poet, Charles Olson. This edited collection of essays covers Olson’s diverse non-literary interests, including his engagement with the music of John Cage and Pierre Boulez, his interests in abstract expressionism, and his readings of philosopher Alfred North Whitehead. The essays also examine Olson’s pedagogy, which he developed in the experimental environment at Black Mountain College, as well as his six-month archeological journey through the Yucatan Peninsula in 1950 to explore the culture of the Maya. This book will, therefore, be a strong research aid to scholars working in diverse fields – music, archeology, pedagogy, philosophy, art, and psychology – as it outlines methods for close inter-disciplinary work that can uncover the mechanics of Olson’s creative, literary processes. Building on the straightforward scholarship of George Butterick, whose Guide to the Maximus Poems remains indispensable for readers of Olson’s work, the essays in this volume will also guide readers through the thick allusions within The Maximus Poems itself. New interest in the wide-ranging and non-literary nature of Olson’s thought in several recent academic works makes this book both timely and necessary. Physics Envy: American Poetry and Science in the Cold War and After by Peter Middleton as well as Contemporary Olson edited by David Herd have started the process of uncovering the extent to which Olson’s inter-disciplinary interests inflected his poetic compositions. “Staying Open” extends the preliminary investigations of Olson’s non-literary sources in those volumes by bringing together a community of scholars working across disciplines and within a wide variety of humanistic concerns.
"I have assumed a great deal in the selection of the poems from such a large and various number, making them a discourse unavoidably my own as well as any Olson himself might have chosen to offer. I had finally no advice but the long held habit of our using one another, during his life, to act as a measure, a bearing, an unabashed response to what either might write or say."—Robert Creeley A seminal figure in post-World War II literature, Charles Olson has helped define the postmodern sensibility. His poetry embraces themes of empowering love, political responsibility, the wisdom of dreams, the intellect as a unit of energy, the restoration of the archaic, and the transformation of consciousness—all carried in a voice both intimate and grand, American and timeless, impassioned and coolly demanding. In this selection of some 70 poems, Robert Creeley has sought to present a personal reading of Charles Olson's decisive and inimitable work—"unequivocal instances of his genius"—over the many years of their friendship.
For Charles Olson, letters were not only a daily means of communication with friends but were at the same time a vehicle for exploratory thought. In fact, many of Olson's finest works, including Projective Verse and the Maximus Poems, were formulated as letters. Olson's letters are important to an understanding of his definition of the postmodern, and through the play of mind exhibited here we recognize him as one of the vital thinkers of the twentieth century. In this volume, edited and annotated by Ralph Maud, we see Olson at the height of his powers and also at his most human. Nearly 200 letters, selected from a known 3,000, demonstrate the wide range of Olson's interests and the depth of his concern for the future. Maud includes letters to friends and loved ones, job and grant applications, letters of recommendation, and Black Mountain College business letters, as well as correspondence illuminating Olson's poetics. As we read through the letters, which span the years from 1931, when Olson was an undergraduate, to his death in 1970, a fascinating portrait of this complex poet and thinker emerges.
How do readers approach the enigmatic and unnavigable modernist long poem? Taking as the form's exemplars the highly influential but critically contentious poetries of John Cage and Charles Olson, this book considers indeterminacy – the fundamental feature of the long poem – by way of its analogues in musicology, mycology, cybernetics and philosophy. It addresses features of these works that figure broadly in the long poem tradition, such as listing, typography, archives, mediation and mereology, while articulating how both poets broke with the longform poetic traditions of the early 1900s. Brendan C. Gillott argues for Cage's and Olson's centrality to these traditions – in developing, critiquing and innovating on the longform poetics of the past, their work revolutionized the longform poetry of the 20th and 21st centuries.