Death and Pejorative Vision in Charles Olson, Part 1
August 29, 2017
If you are a poet or reader of ZigZag poetry you really need to know about Charles Olson. If you don’t know much about Charles Olson then welcome to The Scene where you are going to find out why, yes why Charles Olson matters, why his work matters to you.
This, then, is the first part of a 5 part series on Charles Olson. I will be posting this series on Monday, Wednesday, Fridays.
Charles Olson has been a powerful voice among ZigZag poets since the beginning, and by beginning I mean those days after World War II when everything changed everywhere with the radical poets, writers, and artists of the Beat Movement which started it all and has kept it going with all the spinoffs from the 1950s right up to now.
Because, look, Olson was acknowledged as the intellectual inspiration of The Movement of movements: the Black Mountain poets, the New York poets, the San Francisco poets—in other words, The Beats. With poets like Denise Levertov and Robert Creeley. Robert Duncan once said, “For all of the poets who matter to me in my generation Charles Olson has been the Big Fire Source. One of the ones we had to study.” And Robert Creeley affirmed, “Charles Olson is central to any description of literary ‘climate’ dated 1960.”
Olson’s great work, the one always studied in greatest detail, is his essay “Projective Verse,” first published in an obscure little poetry magazine in 1950. But this complex, detailed essay became the heart of the Olson theory. British poet and critic Davie said Olson’s projective verse essay was “the most ambitious and intelligent attempt by a poet of today to take his bearings and to plot his future course.”
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