I was the houseguest of the poet Gerrit Lansing whom I had met a few years previously in New York at a party given by the poet Kenward Elmslie. Early in the evening Gerrit and I decided to set out for the Cut.
Charles Olson, Projective Verse projective percussive prospective vs. I want to do two things: The stance involves, for example, a change beyond, and larger than, the technical, and may, the way things look, lead to new poetics and to new concepts from which some sort of drama, say, or of epic, pehaps, may emerge.
A poem is energy transferred from where the poet got it he will have some several causationsby way of the poem itself to, all the way over to, the reader.
Then the poem itself must, at all points, be a high energy-construct and, at all points, an energy-discharge. This is the problem which any poet who departs from closed form is specially confronted by.
And it involves a whole series of new recognitions. Thus he has to behave, and be, instant by instant, aware of some several forces just now beginning to be examined. It is much more, for example, this push, than simply such a one as Pound put, so wisely, to get us started: Or so it got phrased by one, R.
Creeley, and it makes absolute sense to me, with this possible corollary, that right form, in any given poem, is the only and exclusively possible extension of content under hand.
There it is, brothers, sitting there, for USE. Now 3 the process of the thing, how the principle can be made so to shape the energies that the form is accomplished.
And I think it can be boiled down to one statement first pounded into my head by Edward Dahlberg: It means exactly what it says, is a matter of, at all points even, I should say, of our management of daily reality as of the daily work get on with it, keep moving, keep in, speed, the nerves, their speed, the perceptions, theirs, the acts, the split second acts, the whole business, keep it moving as fast as you can, citizen.
And its excuse, its usableness, in practice. Which gets us, it ought to get us, inside the machinery, now,of how projective verse is made. If I hammer, if I recall in, and keep calling in, the breath, the breathing as distinguished from the hearing, it is for cause, it is to insist upon a part that breath plays in verse which has not due, I think, to the smothering of the power of the line by too set a concept of foot has not been sufficiently observed or practiced, but which has to be if verse is to advance to its proper force and place in the day, now, ahead.
It is the king and pin of versification, what rules and holds together the lines, the larger forms, of a poem. I would suggest that verse here and in England dropped this secret from the late Elizabethans to Ezra Pound, lost it, in the sweetness of meter and rime, in a honey-head.
Biography. Charles Hamilton Sorley was a British poet of World War I. Life Born in Aberdeen, Scotland, he was the son of William Ritchie Sorley. He was educated, like Siegfried Sassoon, at Marlborough College (). Charles Olson (27 December – 10 January ) was a second generation American poet who was a link between earlier figures such as Ezra Pound and William Carlos Williams and the New American poets, which includes the New York School, the Black Mountain School, the Beat poets, and the San Francisco Renaissance. Charles Olson (27 December – 10 January ), was a second generation American modernist poet who was a link between earlier figures such as Ezra Pound and William Carlos Williams and the New American poets, which includes the New York School, the Black Mountain School, the Beat poets, and the San Francisco Renaissance.
The syllable is one way to distinguish the original success of blank verse, and its falling off, with Milton. It is by their syllables that words juxtapose in beauty, by these particles of sound as clearly as by the sense of the words which they compose.
In any given instance, because there is a choice of words, the choice, if a man is in there, will be, spontaneously, the obedience of his ear to the syllables.
The fineness, and the practice, lie here, at the minimum and source of speech. O western wynd, when wilt thou blow And the small rain down shall rain O Christ that my love were in my arms And I in my bed again It would do no harm, as an act of correction to both prose and verse as now written, if both rime and meter, and, in the quantity words, both sense and sound, were less in the forefront of the mind than the syllable, if the syllable, that fine creature, were more allowed to lead the harmony on.
With this warning, to those who would try: For from the root out, from all over the place, the syllabe comes, the figures of, the dance: I say the syllable, king, and that it is spontaneous, this way: But the syllable is only the first child of the incest of verse always, that Egyptian thing, it produces twins!
The other child is the LINE. Let me put it baldly. The two halves are:Charles Fenerty (?January – 10 June ), is a Canadian inventor who invented the wood pulp process for papermaking, which was first adapted into the production of newsprint.
Fenerty was also a Canadian poet, writing at least 32 poems and publishing 2 books of poetry. Jacques Charles: biography November 12, - April 7, Jacques Alexandre César Charles (November 12, – April 7, ) was a French inventor, scientist, mathematician, and balloonist.
Charles Olson was an innovative poet and essayist whose work influenced numerous other writers during the s and s. In his influential essay on projective (or open) verse, Olson asserts that "a poem is energy transferred from where the poet got it (he will have.
Charles Olson () defined and practiced an open, kinetic poetry which influenced many of the second generation of modern poets. Charles Olson, born in Worcester, Massachusetts, in , was an energetic giant of a man. In his youth his energy took the form of conspicuous academic success.
He. Charles Olson, Projective Verse (projective (percussive (prospective initiativeblog.com NON-Projective (or what a French critic calls “closed” verse, that verse which print bred and which is pretty much what we have had, in English & American, and have still got, despite the work of Pound & Williams.
Biography of Charles Dickens There is something about Charles Dickens' imaginative power that defies explanation in purely biographical terms.
Nevertheless, his biography shows the source of that power and is the best place to begin to define it.