But an artist is, by the very nature of creation, pledged to give form to formlessness; even the process of disintegration must be held within a pattern. This pattern is distorted and broken by Eliot's jumble of narratives, nursery-rhymes, criticism, jazz-rhythms, Dictionary of Favorite Phrases and a few lyrical moments. Possibly the disrupton of our ideas may be reproduced through such a melange, but it is doubtful whether it is crystallized or even clarified by a series of severed narratives--tales from which the connecting tissue has been carefully cut--and familiar quotations with their necks twisted, all imbedded in a formless plasma of associations that are clear only in Eliot's mind Dadaism, with its glorification of incoherence, is scarcely a step away. Towards the end of the essay he adds, "If [the poet] sprawl, he shall find little to sing but himself. And by an inverse law his shapes will make their own way.
Projective Verse and Passing Across the Field of the Page
Charles Olson | Poetry Foundation
Consequently, many postmodern groups, such as the poets of the language school , include Olson as a primary and precedent figure. He described himself not so much as a poet or writer but as "an archeologist of morning. Olson was born to Karl Joseph and Mary Hines Olson and grew up in Worcester, Massachusetts , where his father worked as a mail carrier. He spent summers in Gloucester, Massachusetts , which was to become his adopted hometown and the focus of his writing. At high school he was a champion orator, winning a tour of Europe including a meeting with William Butler Yeats as a prize. For two years thereafter, he taught English as an instructor at Clark University in Worcester, Massachusetts. Olson entered Harvard University as a doctoral student in English in
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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 some several causations , by 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. But the syllable is only the first child of the incest of verse. The other child is the LINE.