Archive for the ‘Vol. 1’ Category


Special Issue


The Vortex

Robert Creeley, “Oh Max”

Anne Waldman, “You, Robert Lowell”

Michael McClure, “These Decades are Echoes”

Cid Corman, “Three for RC”

Anselm Hollo, “In the Mission”

Burton Hatlen, “The Gift”

Albert Cook, “VI”

The Excerner

Robert Creeley and Robert Sheppard, “Stories: Being an Information, an Interview”

Harald Mesch, “Robert Creeley’s Epistemopathic Path”

Charles Bernstein, “Hearing ‘Here’: Robert Creeley’s Poetics of Duration”

Jerry McGuire, “No Boundaries: Robert Creeley as Post-Modern Man”

George F. Butterick, “Robert Creeley and the Tradition”

Albert Cook, “The Construct of Image: Olson and Creeley”

The Explicator

Cynthia Dubin Edelberg, “Creeley’s Orphan Lines: The Rhythmic Character of the Sequences”

Jed Rasula, “Placing Pieces

Michael Heller, “A Note on Words: To Break with Insistence”

Linda W. Wagner, “‘Oh, Pioneers!’: One Sense of Creeley’s ‘Place'”

The Gallery

Wrightsville Beach, NC

Wilmington, NC

Orono, ME, 1982

Orono, ME, 1982

The Bibliographer

Timothy Murray, “The Robert Creeley Collection at Washington University, St. Louis, Missouri”

The cover photograph of Creeley was taken in Wilmington, North Carolina by Bruce Jackson.

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FALL 1982


The Excerner

Michael André Bernstein, “Bringing It All Back Home: Derivation and Quotations in Robert Duncan and the Poundian Tradition”

Jed Rasula, “The Compost Library”

Harold Schimmel, “Historical Grit & Epic Gestation”

Tom Sharp, “Sincerity and Objectification”

The Explicator

Donald Davie, “Lyric Minimum & Epic Scope: Lorine Niedecker”

Jane Augustine, “The Evolution of Matter: Lorine Niedecker’s Aesthetic”

Cid Corman, “Ryokan’s Scroll”

Kathryn Shevelow, “History and Objectification in Charles Reznikoff’s Documentary Poems, Testimony and Holocaust

Ted Pearson, “Something in the Way It Moves”

The Biographer

Donald Powell, “‘I Am a Pair of Open Eyes Forever'”

The Reviewer

Burton Hatlen (Sherman Paul, The Lost America of Love)

Burton Hatlen (The Postmoderns: The New American Poetry Revised, ed. Donald M. Allen and George F. Butterick)

This cover is an image of a fragment of a Scandinavian weathervane from Winchester. Taken from Irish Art in the Romanesque Period (1020-1170) by Françoise Henry (Cornell UP, 1970). Used with permission of the publisher.

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The Excerner

Carroll F. Terrell, “Illumination and Excernment”

M. L. Rosenthal and Sally M. Gall, “William Carlos Williams’ Paterson

W. S. Milne, “Basil Bunting’s Odes

Burton Hatlen, “Zukofsky, Wittgenstein, and the Poetics of Absence”

The Explicator

Gael Turnbull, “For You Who Watch”

Reno Odlin, “Brief Notes on ‘A’

August Kleinzahler, “The Walker”

The Gallery

Mina Loy, photograph, 1957

W. C. Williams & Ezra Pound, 1958

George Oppen, early ’50s

Basil Bunting, 1979

Ian Hamilton Finley & Raspberry Republic

Little Sparta Tree-plaques

The Biographer

George Oppen, “Pound in the U.S.A., 1969”

Cid Corman, “Meeting in Firenze”

Fielding Dawson, “On Olson, with References to Guy Davenport”

David Gordon, “Zuk on His Toes”

Jonathan Williams, “Mina Loy: (An Old Essay and a New Note)”

The Reviewer

Ron Silliman (Bruce Andrews, Wobbling)

Reno Odlin (Guy Davenport, Eclogues: Eight Stories)

The cover design is by Reno Odlin.

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