Unexamined assumptions about poetry often go hand-in-hand with unexamined assumptions about childhood. Poets, like children, are thought to have access to some originary, mystical language of the unconscious. The language of poetry is thought to be "other"Â—archaic, grounded in rhythm and play, as Jacqueline Rose points out, in opposition to narrative fiction "as the forward progression of advancing literary form" (139). Poetry in contemporary America is considered a specialized language, something we often put away with childish things:

Can Children's Poetry Matter?

By the analysis of water and sediment cores, the total inventory of strontium 90 in Crater Lake, Oregon, was determined to be 4.2 curies. In terms of surface fallout, this is equivalent to about 70 mc/km2. The comparable fallout on the surrounding land area, determined from analyses of soil sections was 58 mc/km2, and a value predicted by extrapolation from other Oregon stations was 73 mc/km2. Hence, no substantial difference in the efficiency of fallout collection could be attributed to the mere presence of the large water surface.

Ocean fallout—The Crater Lake Experiment

Elizabeth Bishop noted that her poetry differed both from the standardized somewhat machine-made Academic poem and from poetry that comes through with a sort of shocking vulgarity and coarseness of mind. Bishop, as Lowell's commentary at the 1964 reading notes, was also a poet who refused to write the standard academic poem fashionable at mid-century, nor did she write the kind of confessional poem that was quickly supplanting it. The critical ambivalence about Losses surfaced in part because Jarrell's postwar subject matter was emerging in that volume, in poems such as Moving. Like Jarrell's late poem The Lost World, moving also frames the perceptions of the child against the more jaded reflections of the adult. The woman's predicament hearkens back to Jarrell's polemical essays criticizing American consumer culture, as she wanders the aisles of the supermarket among the detergents cheer, joy and all vainly seeking their emotional equivalents.

The Uses of Authenticity

Belles-lettres, dealing with what it means to be human, serve to expose stereotypes, strip them away, and reveal the truth behind the misconceptions, often in terms of archetypes. An all-too-common subject of stereotyping is the aging of women. Much modern fiction and poetry cogently exposes such demeaning stereotypes. References to twenty-five representative poems and nine works of fiction by thirty-five modern authors (American, British, Australian, French) demonstrate that the elderly woman often survives with dignity, even nobility, in a society often insensitive to her plight, that she often ages with grace, retaining her independence, fortitude, and passion for life.

The distaff and the staff: stereotypes and archetypes of the older woman in representative modern literature

This essay attempts to reframe the scholarship on
postwar avant-gardist practice by rereading an event some commentators
consider the beginning of the academic cooptation of the avant-garde:
the Berkeley Poetry Conference of 1965. Held just after the anthology
wars had established the more-notable poets in attendance as the
“wild other” of academic verse culture, the event was an
effort to stage a collective identity. The essay focuses its account of
the conference—and the vast, internally-differentiated avant-garde
represented there—through an analysis of Charles Olson’s
notorious performance. Olson’s reading is considered by some a tour
de force and by others a drunken ramble. This essay interprets it as
an attempt to articulate an institution and contends that its excesses
derive from his simultaneously marginal and central positioning as the
“boss poet” of a community committed to
perpetual emergence. Theories of the avant-garde that figure
institutionalization as a necessary and final fall from grace, while
perhaps schematically accurate, cannot do justice to the struggle over
identity and value that marks every stage in the process of literary
evolution. Reading Olson’s performance as an effort—in the
words of Gertrude Stein—to have contemporaries, this essay seeks
to complicate the myth of the aporetic, antisocial avant-garde on a
self-destructive quest for the future. Instead, it finds revolutionary
impulses coexisting with the project of shoring up one’s personal
position by creating new institutions. Institutionalization and
breakthrough, thus, go hand in hand.

Making It New: Institutionalizing Postwar Avant-Gardes

New Poets of England and America

New poets of England and America : an anthology

Lyric Narration: The Chameleon Poet

To a Stone

Nine New Poets

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