Annotation "Through a detailed and thoughtful study of the impact of Alfred North Whitehead's philosophy on Olson's aesthetic theory, this book points out the conceptual unity underlying what seems to be a sprawl of fragments in Olson's major work, The Maximus Poems." "On the one hand, concrete poetic units of The Maximus Poems serve as a starting point for clarifying how different elements are joined together in one unity. On the other hand, the book traces the blending of the whole poem at the macro level, following its course through a temporal progress in which the poem moves from one poetic unit to the next; that is, from a unity (of multiplicity) to a new unity (in which the previous unity is already part of the multiplicity building the new one). Thus the book illuminates Olson's theory of the Long Poem as an "all-containing" corpus, governed by metaphysical principles, equal to life itself, enacted in the process of working on The Maximus Poems."--BOOK JACKET. Title Summary field provided by Blackwell North America, Inc. All Rights Reserved.

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

“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.

Charles Olson is often described as one of the most influential American poets of the last quarter century; some would rather describe him as a cult figure, prophet of the Black Mountain poets and their descendants. Both judgments refer to an influence exerted as much through theories as through poems. Here is an examination of Olson's understanding of poetry that is cogent and a pleasure to read. It provides the framework needed for understanding Olson's work. Mr. von Hallberg shows us the Olson of the 1950s, who tried to bring change through teaching, who wanted poetry to communicate knowledge, as well as the more private poet of the 1960s, turning from history to myth. Olson's ambitions for poetry were based on his sense of cultural politics, and the author studies the relation between Olson's politics and his poetics. He traces too Olson's relation to older poets, especially Ezra Pound and William Carlos Williams. His book will interest anyone reading contemporary American poetry.

From Walt Whitman to the contemporary period, the long poem has been one of the more dynamic, intricate, and yet challenging literary practices of modernity. Addressing those challenges, Writing in Real Time combines systems theory, literary history, and recent debates in poetics to interpret a broad range of American long poems as emergent systems, capable of adaptation and transformation in response to environmental change. Due to these emergent properties, the long poem performs essential cultural work, offering a unique experience of history that remains valuable for our rapidly transforming digital age. Moving across a broad range of literary and theoretical texts, Writing in Real Time demonstrates that the study of emergence can enhance literary scholarship, just as literature provides unique insights into emergent properties, making this book a key resource for scholars, graduate students, and undergraduate students alike.

At the close of the Second World War, modernist poets found themselves in an increasingly scientific world, where natural and social sciences claimed exclusive rights to knowledge of both matter and mind. Following the overthrow of the Newtonian worldview and the recent, shocking displays of the power of the atom, physics led the way, with other disciplines often turning to the methods and discoveries of physics for inspiration. In Physics Envy, Peter Middleton examines the influence of science, particularly physics, on American poetry since World War II. He focuses on such diverse poets as Charles Olson, Muriel Rukeyser, Amiri Baraka, and Rae Armantrout, among others, revealing how the methods and language of contemporary natural and social sciences—and even the discourse of the leading popular science magazine Scientific American—shaped their work. The relationship, at times, extended in the other direction as well: leading physicists such as Robert Oppenheimer, Werner Heisenberg, and Erwin Schrödinger were interested in whether poetry might help them explain the strangeness of the new, quantum world. Physics Envy is a history of science and poetry that shows how ultimately each serves to illuminate the other in its quest for the true nature of things.

Offering the everyday tasks of literary editors as inspired sources of postwar literary history Michel Foucault famously theorized “the author function” in his 1969 essay “What Is an Author?” proposing that the existence of the author limits textual meaning. Abram Foley shows a similar critique at work in the labor of several postwar editors who sought to question and undo the corporate “editorial/industrial complex.” Marking an end to the powerful trope of the editor as gatekeeper, The Editor Function demonstrates how practices of editing and publishing constitute their own kinds of thought, calling on us to rethink what we read and how. The Editor Function follows avant-garde American literary editors and the publishing practices they developed to compete against the postwar corporate consolidation of the publishing industry. Foley studies editing and publishing through archival readings and small press and literary journal publishing lists as unique sites for literary inquiry. Pairing histories and analyses of well- and lesser-known figures and publishing formations, from Cid Corman’s Origin and Nathaniel Mackey’s Hambone to Dalkey Archive Press and Semiotext(e), Foley offers the first in-depth engagement with major publishing initiatives in the postwar United States. The Editor Function proposes that from the seemingly mundane tasks of these editors—routine editorial correspondence, line editing, list formation—emerge visions of new, better worlds and new textual and conceptual spaces for collective action.