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Editorial Reviews
From Publishers Weekly
This judicious selection of Olson's poems will, one hopes, make him known to a wider audience. Poet Creeley's introduction aligns Olson's Maximus Poems with Pound's Cantos and Williams's Paterson , works which also, by their diverse forms and materials, prove too daunting for some. Creeley stresses Olson's political impulse, but the scale of Olson's poems seems more historical, if not cosmic. Raised in Worcester and Gloucester, Mass., here Olson looks back not only to the era of childhood and his parents' lives, but to the explorations of Captain John Smith, and the silent prehistory of the continent itself. The aim of this autobiographical-historical venture is not personal, Olson insists: "The only interesting thing / is if one can be / an image / of man." However, he recognizes that the effort to achieve a synthesis of the American consciousness and experience is forever displaced by a nation "which never / lets anyone / come to / shore," especially in an age when humans are "merely /something to be wrought, to be shaped, to be carved, for use, for / others." What is left is the severe beauty of memory and Olson's elegiac praise of life, "the precessions / of me, the generation of those facts / which are my words, it is coming / from all that I no longer am, yet am, / the slow westward motion of / more than I am."
Copyright 1993 Reed Business Information, Inc.
From Library Journal
Throughout his life, Creeley has struggled to articulate "the edge/ of being before the thought of it/ blurs it." His self-preoccupation ("No one/ there. Everyone/here") and refusal to acknowledge the reader's "presumption of expected value" have made him one of the few poets whose name dropped casually in conversation can instantly polarize a room. This new sampling both refines and builds upon its predecessors, Selected Poems (LJ 11/1/76) and Collected Poems (LJ 3/1/83). From the nearly antagonistic minimalism of "A Piece" ("One and/ one, two,/ three") through the philosophical expansiveness of "Desultory Days" and beyond, it becomes apparent that Creeley's work has not so much opened up over the years as fluctuated in its attentions to self and world. Aided by effusions of critical theory and a personal formalism of almost metallic opacity, Creeley's poems are at last canonical.
- Fred Muratori, Cornell Univ. Lib.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
This judicious selection of Olson's poems will, one hopes, make him known to a wider audience. Poet Creeley's introduction aligns Olson's Maximus Poems with Pound's Cantos and Williams's Paterson , works which also, by their diverse forms and materials, prove too daunting for some. Creeley stresses Olson's political impulse, but the scale of Olson's poems seems more historical, if not cosmic. Raised in Worcester and Gloucester, Mass., here Olson looks back not only to the era of childhood and his parents' lives, but to the explorations of Captain John Smith, and the silent prehistory of the continent itself. The aim of this autobiographical-historical venture is not personal, Olson insists: "The only interesting thing / is if one can be / an image / of man." However, he recognizes that the effort to achieve a synthesis of the American consciousness and experience is forever displaced by a nation "which never / lets anyone / come to / shore," especially in an age when humans are "merely /something to be wrought, to be shaped, to be carved, for use, for / others." What is left is the severe beauty of memory and Olson's elegiac praise of life, "the precessions / of me, the generation of those facts / which are my words, it is coming / from all that I no longer am, yet am, / the slow westward motion of / more than I am."
Copyright 1993 Reed Business Information, Inc.
From Library Journal
Throughout his life, Creeley has struggled to articulate "the edge/ of being before the thought of it/ blurs it." His self-preoccupation ("No one/ there. Everyone/here") and refusal to acknowledge the reader's "presumption of expected value" have made him one of the few poets whose name dropped casually in conversation can instantly polarize a room. This new sampling both refines and builds upon its predecessors, Selected Poems (LJ 11/1/76) and Collected Poems (LJ 3/1/83). From the nearly antagonistic minimalism of "A Piece" ("One and/ one, two,/ three") through the philosophical expansiveness of "Desultory Days" and beyond, it becomes apparent that Creeley's work has not so much opened up over the years as fluctuated in its attentions to self and world. Aided by effusions of critical theory and a personal formalism of almost metallic opacity, Creeley's poems are at last canonical.
- Fred Muratori, Cornell Univ. Lib.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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