rothenberg, jerome--poetry in the 1950s

8/12/2019 Rothenberg, Jerome--Poetry in the 1950s

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f aper delivered at American Poetry in the 1950s : University of Maine, Orono June 1996

Poetry In The 195 s As A Global Awakening:

A Recollection Reconstruction

NEW

YOUNG

GERMAN

POETS¥

Jerome Rorhenberg

MY FIRST PUBLISHED BOOK came in 1959-

on the cusp between the 1950s and the 1960s - took

me(almost by surprise) into the center of what had by then

emerged as the New American Poetry (a year before its

being named that in the great Don Allen anthology of

1960). That book of mine was called New Young German

Poets and was a work of translation; the publisher was City

Lights (thru Lawrence Ferlinghetti) and the imprint was as

number 11 in the Pocket Poets Series, of which

Ferlinghetti's Pictures of the Gone World was number one

Allen Ginsberg's Howl Other Poems was number four.

(That Kenneth Rexroth's Thi rty Spanish Poems of Love

Exile was number two and Ferlinghetti's translation of

Jacques Frevert's Paroles was number nine should also be

remembered toward the narrative that follows.)

That decade for me- for most ofus, I imagine- had started out differently. In 1950 I was

still a student, with David Antin others, in New York's City College, and it was from there

that I watched the war return to us in Korea, with it the early repressions of the Cold War

in its McCarthyite manifes tations. had declared myself a poet a few years before that- a

kid's reaction or assertion of some degree of otherness against the years of war (world war)

holocaust that accompanied the early childhood. What I found most thrilling- needed - at

the start was the work I the language of those poets who could lead me into acts of othering.

Stein came early in that sense - as did Joyce Cummings; or on another level, Dali (in his

writings too) and the rumored Dadaists, whose works we wouldn't read for another year ortwo but who we heard had written poems that did away with words. Williams and Pound

came about the same time carried Whitman in their wake. And we also read The Waste

Land. What college did- but not to me alone- was to inculcate the sense that most of that

was dead. That was the going wisdom then, largely in the name ofEliot, whom Williams

called - rightly in that sense - the great disaster to our letters. (1) The result -

postmodern, after modern in the worst sense - was to throw us into a condition of what [my

first poetry teacher] Delmore Schwartz then called picking up again the meters and

continuing the revolution in poetic taste which was inspired by the criticism ofT.S. Eliot,

or elsewhere: the poetic idiom and literary taste of the generation of Pound and Eliot. As

an example ofthat revolution he cited the following from W.D. Snodgrass:

The green catalpa tree has turned

All white; the cherrry blooms once more.

In one whole year I haven't learned

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JJoetry In he 1 :J Us As A Ulobal _.\wakenmg

A blessed thing they pay you for

-at which David An tin looked back (circa 1972) and commented: The comparison of this

updated version of Shropshire Lad and the poetry of the Cantos and The Waste Land

seems so aberrant as to verge on the pathological. f)

It was this, then, or something roughly equivalent to this that was being hammered home to

us in our late teens & early twenties, & it followed me in 1952 when I went to the University

of Michigan for a year of graduate study draft evasion, most notably in the intelligentnew criticism of Austin Warren others that nearly spun my head around. I found myself

there - curiously- as a lone defender of Walt Whitman, watching as Warren tried and failed

to cope with both Whitman's monumental verse lines & his equally monumental stance

toward-reality. Against which the principal relief- along with Pound and Williams and a

few of the other American rejects we still knew (Stein Cummings certainly) -came

through the (largely translated) works of a number of European poets and near

avantgardists: Rim baud, Lorca, Mayakovsky, Rilke, Apollinaire [ so on] early in the

decade, others (along with other American forerunners) as the decade swung around. It was

at Michigan too that I came to my own discovery of Blake and Christopher Smart I v\Tote

my master's thesis on Smart's rhyming hymns while lovirig most his Jubilate Agno), and it

was there that I discovered - in library stacks divorced from literature or poetry - the poetriesof Africa and the Indian Americas that would reemerge for me well into the 1960s.

What I was unaware of- what we were unaware of where I roamed - was the widespread

unrest within our generation & the ways in which the turnaround was getting under way -

both in the States elsewhere. My own way then went through two years in the army· - most

of it spent in (dreaded) Germany- a return to New York a company of friends (Antin,

Kelly, Schwerner, others by the later 1950s), with whom t was possible to shape a mutual

deliverance. The breakthrough, when it came, was a return at first to the ideas of poetry that

the early years bad nearly driven out of us For me this bad the sense of a renaissance, the

rebirth or reawakening of a radical modernism that was not only rooted in the U.S. (out of

Whitman) but had gone still further elsewhere- into shapes forms of mind as well as

measure) that were the starters for a work that vve would carry forward.

What finally brought me over the edge - along with the sense of an ever increasing company

of poets others in a circle-of- companions- was the work on New Young German Poets.

(I had also, with Robert Kelly chiefly, coined the term elaborated the practice of deep

image, a term that would later be associated with the considerably different practice of

Robert Bly, another companion from that time.) The offer from Ferlinghetti to look into the

new postwar German poets followed on what was in fact my first publication: a set of

rhymed translations from the 1920s poet and novelist (cabaret poet, as I made him out to be)

Erich Kastner, one of which (for the record) ran like this:

[reads]

AUTOBIOGRAPHY

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Poetry In The 1950s As A Ulobal Avvakemng

For those who weren't born, it s all the same.

They perch upon some tree in Space and smile.

Myself, I never thought of it, I came,

A nine-months child.

I spent the best part of my life in school,

Cramming my brain till I forgot each word.

I grew into a highly polished, model fool.

How did it happen? I really never heard.

The war came next (it cut off our vacation).

I trotted with the field artillery now.

We bled the world to ease its circulation.

I kept on living. Please don't ask me how.

Inflation then, and Leipzig, and a whirlOf ant and Gothic and Bureaucracy,

Of art and politics and pretty girls,And Sundays it was raining steadily.

At present I am roughly 31And run a little poem factory.

Alas, the greying of my hair's begun.

My friends are growing fat remorselessly.

I plop between two chairs, if that's appealing,

Or else I saw the bough on which we sit

I wander down the garden-walks of feeling(When feelings die) and plant them with my wit

I drag my bags around despite the pain.

The bags expand. My shoulders grow unsure.

In retrospect, permit me to explain:

That I was born. And came. And still endure.

The work was printed under my full name- Jerome Dennis Rothenberg- in the winter 1957

issue of The Hudson Review( ) brought a letter shortly thereafter from Ferlinghetti,

asking ifl wanted to take a crack at a German postwar project, about which he (like me )

knew very little. The search that followed coincided with the reclaiming of my own work

life after the actual working on the Kastner poems in 1955 '56.

New Young German Poets allowed me to be the first to publish a number of poems by Paul

Celan in English versions, as well as the (probably) first English translations of poets like

GUnter Grass, Helmut Heissenbi.ittel, Ingeborg Bachmann, and Hans Magnus Enzensberger.(I also translated but didn't include two poems by Rainer Maria Gerhardt, the young poet to

whom Olson dedicated- as "funeral poem"- "The Death of Europe.") In the act of

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roe try m 1 ne 1 ;I JUS /-\S \ u1ooa1 .'\ waKenmg Yage 4 or 1u

translating I came to discover the existence of writings - of modes of poetry- that opened

possibilities that were both like and different from the new poetry & poetics emerging in the

U.S. (That every move I made added to my own resources as a writer was - how could it not

be?- the still greater bonus.) Of the poets I then translated, Celan (early Celan, let me point

out) was the most overwhelming, with the more experimental Heissenbuttel (for me then)

almost as important for the sense he gave me of new ways of form and language. Here,

because I can't resist, are two examples:

[reads Shibboleth and Combination II ]:

With the postwar Gennan poets as my particular way in the 1950s (as I

came to them) were otherwise a time in which I got to know (&reassess

by knowing) the work of both the earlier experimental modernists &

those who were, like those I knew at home, opening (to use a World War

II expression) a second front for modernism. Robert Motherwell's Dada

Painters & Poets, which had been there since 1951, was in its way as

important for me - for us - as the Allen anthology might be a few years

later. (3) So too was the pervasive presence - in New York surely - of

already visible and active avant-gardes in painting and music (both jazz

and new ), which created a viable alternative before the Beats & othersmade it still clearer in their acts of poetry. t was with this as a backdrop

that Don Allen, when he came to make his statement for the new American poetry of the

1950s, placed it side by side as a revitalized form of modernism \Vith abstract

expressionism and jazz In doing this he made what was a wonderful & far-reaching

assertion of a new American hegemony in the arts, saying of it on its poetry side: This

anthology makes the ... claim [that] the new American poetry [is] now becoming the

dominant movement in the second phase of our twentieth-century literature and already

exerting strong influence abroad. (That it was the Beat poets \.vho were the leading wedge

in this- rather than some others we might more have favored- is a point worth noting.)

My own take on these matters was different then & came to be stil lmore different over the

intervening years. While recognizing & participating in what \Vas a crucial American

moment, I saw what was happening in American poetry as part of a larger global

manifestation, some of it (as I came to knovv later) occuring before or certainly apart from

the American influence as such. It was for these reasons ( from an over-emphasis of my

role as a translator) that Allen, in what may have been our only correspondence at the time,

pinpointed me as a proponent of what he called, if I remember it correctly, the international

style of poetry. In this, but in a way far different from how that term has since been used, I

would like to think that he was absolutely right.

I am saying this, of course, with something like thirty-five years of hindsight. In the late

1950s most of what was revealing itself to us from the outside was from an earlier

generation that we were still in the process of rediscovering. Just as word was coming backof the old Objectivists (themselves becoming active again as makers of a transitional

American poetry), the recovered poets from elsewhere included the likes ofNeruda and

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Vallejo; of Surrealist masters like Breton and Artaud (disregarded by the American middle

grounders- Robert Bly & company included- in favor of less convulsive pract itioners like

Eluard or Desnos); of Dadaists like Tzara and Hugo Ball or like Kurt Schwitters, whose

work was hinted at- but only hinted at- in Motherwell; of a mysterious generation of

Negritude poets in Africa & the Caribbean. And so on. Some of this I shared with those like

Paul Blackburn or the older & incredibly active Kenneth Rexroth (or with Bly or Bill

Merwin for all of that) as poets devoted to translation while- in Blackburn's case at least

remaining rooted in the sense of an American duende that spoke to us from deep within

the language. And of those others I was then starting to meet, Duncan was (like Rexroth orFerlinghetti- or Ashbery & O'Hara in a rather different way) remarkably open to the world

at large; Olson and Snyder, say, much more nativist in their approaches both to past &

present, though quite exemplary in leaps back into ancient worlds - both east & west - as far

back as the paleolithic. 4) My own ventures, with Robert Kelly & others, into the shadier

sides of deep-image writing (my coinage there, for worse or better) were in large part a

revival of what was coming at us from the recent past of Europe.

What we knew then, much of it obscured by the anti-modernist turn at the beginning of the

decade, was imperative for us to know. What we didn't know- obscured by our own

breakthroughs as American poets [pre-VietNam] -was how much else was coming into

presence then or had emerged, even in this most American of centuries & moments, \Vithoutour blessings. Over the last few years I've had a chance- working with Pierre Joris -to go

over the terrain of the immediate postwar decades ( 1945 to 1960, the years of the New

American Poetry) as the opening wedge for the second volume of Poems for the

Millennium, the global anthology that's been a central work of ours since 1990. This is in

some sense fired by Pierre's nomadism, as well as my own: our sense of a community/ a

commonality of poets that both ofus have knovvn (&continue to know) across whatever

boundaries. Being far enough away from the fifties now to have a wider view of the terrain,

I see the new American poetry that so much defined us as itself a part (a key part, sure, but

still a part) of a worldwide series of moves & movements that took the political, visionary,

& fnnmll r e n • n ~ n 1 of ~ r l i r mnderniqn & reshaped & reinvented r xtendedl them in the

only time allowed to us on earth. I believe at the same time that such a view is both truer to

the facts & provides a richer source & context for later American postmodernisms ( that of

the Language Poets, say) & for aspects of the experimental American '50s and '60s

neglected in both earlier & later versions of The New American Poetry.

I would like to give you, then, a sense of the configuration, the

reconfiguration we've attempted- both to see how the New

American Poetry fits into that larger frame & how little of it

was evident to us then. The first volume- for those who haven't

seen it- covered a range of work from fin-de-siecle to

negritude - from Mallanne's Coup de des of 1897 to work

appearing in the midst of World War II. The division was into

three galleries of individual poets & six sections devoted to

the movements that typified the time but have been deliberately

omitted or reduced to footnotes in most other gatherings of

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Poetry ln 1he l LJ Us As A liloh l Awakenmg Fage bot Ju

poetry. (These were, in order, Futurism [both Russian &

Ttalian l. Exnressionism. Dada. Surrealism. the Objectivists. & Ne2ritude.) In doin2 this we

were not being original (or even ornery in some sense) but asserting what for many of us

was the actual configuration of that time. We were also setting the stage for the second

volume - the present world in which we live & work.

With that second volume- from World War II to the present [ beyond]- there is no

cornp,dion the omissions & gaps are overwhelming. Having said that, I would like to go

over the disposition of the contents- some portion of them- to give a view of American

poetry & poets interspersed with sometimes equally experimental, sometimes more

experimental poets from elsewhere. (For this reason, with America as the point of departure,

the amount of U.S. poetry is & remains disproportionate.) Over all, the question of inclusion

& exclusion, which can never be properly resolved, was less important with regard to

individuals & movements- more with regard to the possibilities of poetry now being

opened. There are two galleries this time around, the first & earlier consisting largely of

poets who were or became active during the 1940s and 1950s- the subject in sho1i ofthis

gathering. And within these we've imbedded a number of groupings- somewhat like the

movements of the previous volume, but often more localized or more restricted to moves in

poetry rather than across the arts (although that poetry may itself show real amalgams with

the plastic arts or music). After I give you a sense of what the juxtapositions here feel like,I'll end it with a reading from those clusters or mini-movements, which are

contemporaneous with the New American Poetry or, in several instances, come before it.

The point is not to trace influences from group to group or poet to poet (largely absent till

the later I 95Os/earIy I 960s) but to set out a range of responses to the postw·ar (cold war) era

and the wars & holocausts that lay behind it.

The first gallery, then, consists ofvvork from some fifty poets- from Marie Luise Kaschnitz

born in 1901 to Gary Snyder born in 1930. It follows a section of poems by some of the

poets who appeared in the earlier volume but whose postwar poetry- often maximal as

Olson would have had it) showed a continuity between the century's two halves; namely

Stein, Stevens, Joyce, Williams, Pound, H.D., MacDiarmid, Breton, Michaux, Zukofsky,Neruda, EkelOf, Rukeyser, Cesaire. (You will note already the gaps omissions that any of

us could point to.) But it's in the contents of the first gallery as such that the richness ofthe

time begins to shmv itself- a richness measured in fact by its unboundedness. In sequence,

then, the first twenty to appear run like this: Marie Luise Kaschnitz, Vladimir Holan, Samuel

Beckett, George Oppen, Yannis Ritsos, Charles Olson, Edmond Jabes, John Cage, Octavia

Paz, Bert Schierbeck, Robert Duncan, Yoshioku Minoru, Paul Celan, Mohammed Dib,

Amos Tutuola, Helmut HeissenbLittel, Jackson Mac Low, Pier Paolo Pasolini, Vasko Papa,

& Denise Levertov. (5) It is a configuration of contemporaries- ours- of possibilities

ours also- with regard to which the vaunted American dominance (forty years later) seems a

wild exaggeration. That we may feel a kinship (&sometimes open friendship) with all those

named is a further point worth making.

Along with poets such as these- & there were, clearly, many more- groupings had begun to

appear with some resemblance to the pre-war movements. Some were confined to a single

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Poetry In The JY Os As A (jJotJal waKemng d t L l V

place language or to a set of places, others (the exceptions) to a sweep that cut more

boldly than their predecesors across divides of place nation. Six of the ones we've chosen

were already active in the 1950s, two as far back as the later 1940s. The thrust in all was

toward a rupture with the past, or a renewal of the interrupted ruptures of the pre-war avant

gardes, now made more urgent by the war by a sense of dangers repressions still

persisting. As with those predecessors the urgency went back into the poem itself (the way

the ooem was made)- a point reiterated in those vears (again, again) bv William Carlos

Williams. In America his rage for a new measure dominated - in Olson's sense of a

projective verse, in Ginsberg's citation that when the mode ofthe music changes, the wallsof the city shake. The openings elsewhere - as among American avantgardists of another

stripe [Mac Low & Cage immediate examples]- took different but equally dynamic turns.

As particular groupings - clusters - topoi - take the following.

The Wiener Gruppe [Vienna Group] kicks otT in 1953, with the founding by H[ans] C[arl]

Artmann of a basement theater in Vienna (die kleine schaubi.ihne) for 'macabre feasts,

poetic acts', and pranks like black masses, an evening 'with illuminated birdcages,' or one 'in

memoriam to a crucified glove'. (Rosmarie Waldrop) Early participants in the group were

Artmann, along with Gerhard Rlihm, Konrad Bayer, Oswald Wiener, and Friederich

Achleitner, joined in 1957 by Ernst Jandl and Friederike Mayrocker. The range of workincluded a renewed exploration of visual and sound poetry and a high degree of vernacular

language play, including works in Viennese dialect, not in order to mimic speech or render

local color - writes Rosmarie Waldrop- but as a reservoir of sounds and expressions ...

that exploit the tension between the spoken immediacy and the outlandish look of the dialect

words when spelled out on the page. Writes h.c. artmann in his 1953 eight point

proclamation of the poetic act: there is a premise which is unassailable. namely that one can

be a poet even without ever having written or spoken a single \NOrd. however the

prerequisite is the more or less felt wish to act poetically. the alogical gesture can itself be

nerfnrmed such that it is raised to an act of outstanding beau tv. ineed to noetrv. be<wtv isI ' '

however a concept which is here allowed a greatly enlarged field of play. And then, as

poem, the follmving in Viennese dialect (translated by me into 1 don't know what kind of

New York thing from childhood):

[reads]:

Or this [example of new sentence, say] - in prose from Konrad Bayer:

[reads The White and the Black Bones ]:

A second grouping, the self-proclaimed Tammuzi poets, consisted of writers tJ·om

Lebanon and Syria, who in 1956 came together around the Beirut magazine Shi'r [Poetry] -

one of the key instances, in the two decades following World War II, of third-world

liberation movements with their well-known cultural/political concommitants: thesimultaneous demands for revolution tradition. As ooets ofthe Arabic language the

Tammuzis not only proclaimed a relation to a deep tradition (an ancient order newly

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roetry In Ine I CJ US As. \ uiooai . \WaKemng rage: o u1 1u

rediscovered) but spelled out a further struggle (a second liberation from within the culture

the language) to create a poetry that establishes another concept of identity- one that is

pluralist, open, aganostic, and secular." (Thus: the Syrian poet Adonis [born Ali Ahmed

Said) on "poetry apoetical culture.")

And this from the Lebanese poet Unsi al-Hajj in Pierre Joris's English version:

[ r c ~ . _is "The Charlatan"):

A still earlier movement- one which would have a curious repercussion at a later time

was that of the artists poets who came together, starting as early as 1948, under the coined

name COBRA. "The choice of a name whicis not an ism, but that of an animal," said poet

artist Christian Dotremont in retrospect, added: "We were in fact against all isms, against

all that implied a system." The cities in which they worked- whose opening letters

formed their name - were Copenhagen, Brussels, Amsterdam; the participants themselves,

mostly younger artists poets, ·witnesses to mid-ecntury war holocaust from which, in

1948, Europe was just emerging. Short-lived as the "movement" was (it would dissolve by

1951 ), it was to that degree "international," with links- often reiterated- to other postwar

groups [Situation ism, Lettrism) that sought new ways of life through art. An aspect of their

project was therefore political social - a belief in the transformation of art itself asinstrument (in its experimental modes) of even larger transformations. In a move

reminiscent of earlier Dadaist disgust, Cobra artists turned from "Western Classical c

ulture," not so much to so-called "primitive" aii (too often conflated with the "Non

Western") as to the art of children, sav. the "outsider art" of the insane. The result was a

commitment to a ra\vness openness of form ("we never permit ourselves to finish a poem"

- C.Dotremont) & for many of them a further "erasure ofthe boundaries between the

arts" (in the words of a major forerunner, Kurt Schwitters). A1iists poets worked together

or crossed into each others' domains, "committed to marrying poetry with the plastic

arts" (J.C. Lambert), or from a recognition (thus: Asger Jorn) that "painting and writing are

the same."

Along with Jorn Dotremont, the principal Cobra artists were the Belgian artist-writers

Pierre Alechinsky and Hugo Claus the Dutch experimentalists Luceberi, Constant, Gerrit

Kouwenaar, to a lesser degree Bert Schierbeck. A further connection- largely through the

somewhat older Jorn- is to the Internationale Situationiste to a lesser degree to the

Internationale Lettriste of the 1950s/60s. The following is by Pierre Alechinsky, working

here as writer/poet.

[reads Ad Miro"]

What we have here is a language poetry- a poetry of diverse experimental means -two

decades or more before a group of American poets would offer up their work as "language

poetry" per se. And there is also a push in Cobra toward a coincidence of word image thatwas being taken in new directions by the (so-called) Concrete Poets of the 1950s/60s -one

of the few movements (like the closely related Fluxus) with a genuinely international

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Foetry In l l l I ';I)US . \S \ U Oll<l l \ \ \<JKellJIIg UfS - ' / \..11 1 V

standing. That many of its works could readily cross borders \Vas in part a function of their

stripped-down(= minimalist) nature: a reduction of the poem to a sign (often in bold

typography, sometimes in color) that typically eliminated syntax & even words themselves,

thus offered up an image open to interpretation (reading) at a single glance. In a larger sense

the same mind-set that produced concrete poetry tied it not only to other (older) forms of

visual poetry but more surprisingly perhaps - to radical forms of sound poetry textsound

performances Practitioners were also drawn to "process poetry" to experiments with

reduplicating verbal patterns or, as the semiotics ofthe work developed, to pieces that

dispensed with words in favor of a purely visual, often photographic, image.

The following, however divergent from the concrete norm, is by the great American

conretist Emmett \Villiams: a version of The Reel Chair (circa 1960)- here set for three

VOICes.

[reads "The Reel Chair"]

The last grouping I'll mention is Japanese, what I ll do here is read the opening paragraph

of our introduction to the grouping in Millennium. (The Beats are also included, by the way,

but no need to tell you about them: & still other movements are represented by scattered

individual poets.)

[reads "The Arechi Poets After" from volume two]

"Against the view .Japanese \.Vestern both- of a traditional Japanese poetry defined by

long-established canons of brevity refinement, the \Vork of post- vVorlcl War fi generations

shows an enormity of means voice that turns the old ways upside clown (or seems to),

while bringing those ways simultaneously into the present. Less resembling the mode of

haiku and tanka (waka)- for those ofus who vinv them from the outside- fthan that of a

ghost-ridden poets' theater like the traditional Noh or contemporary Buthoh, their work

becomes a celebration in darkness which is at once \\eire and refined, scatalogical and lofty,

comic and serious.' (Thus: Yoshioka Minoru, early among the 'postwar' poets.) As with

other new poetries, that of Japan's 'postwar' poets moves increasingly toward the demotic(colloquial, everyday), bringing in a range of new oflen foreign- vocabularies

imageries, along with a mix of class & gender usages (long separated into discreet social

levels) a 'violation of grammatical norms carried to the point of linguistic rapine' (Roy

Andrew Miller). On their literary side Miller again- the resultant poems display a

'stripping-away of all the customary decorations and embellishments of traditional Japanese

poetics' toward a 'naked language' (hadaka no gengo) 'what may very well be their single

most salient structural feature- the great freedom and variety displayed by the poetic line

that they employ."'

The following are examples, then, of how the Japanese "post\\'ar" could function.

[reads from Takahashi, Shiraishi, et al.]

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Poetry In I he I :J)(Js s A Global A wakemng Page 1U ot 1U

CONCLUSION. The point of this presentation is retrospective. It is not a point I would

have made- or would easily have made- during the period itself I understood that it was

necessary at that time for American poets to make what George Quasha and I called (in our

I 970 anthology America a Prophecy) a declaration of independence for American poetry.

We were speaking then of the ongoing domination intrusion of British letters and

language that had haunted us into the 1950s, but we were aware at the same time that our

\vork if it was to mean, to signify in that special sense, would have to take its place in a

revolutionof

the word that had develooed as well outside the native shores. We also found- increasingly- that it \vas possible to join to make common cause with poets at1ists

everywhere (not an everywhere which was nowhere but an everywhere made up of many

somewheres). If Charles Olson spoke of a new localism that would feed our historic &

poetic senses, it seems to me now that it is increasingly possible - & necessary- to speak of

a new globalism. That this has its own complications is obvious as well, but it also has its

own richness for many of us it has brought a sense of personal artistic relationships

collaborations that have grown up over the last half century. In light of this it is time (& long

past time) to consider the 1950s- the decade ofthe postwar the burgeoning cold war- as

the time also of a global awakening, to view (or re-view) the New American Poetry as

part of a greater, still more electrifying symposium of the whole.

otes

I) While he actually said it about The Waste Land, I preferred to apply it to Eliot ad

hominem & to let The Waste Land (qua poem) off the hook.

(2) An tin, like myself many others, had vvritten in a similar mode as a kid.

(3) I announced- as a scheduled publication of Hawk's Well Press, which David Antin and I

had founded circa 1957- an anthology of Dada poetry in translation with the title That Dada

Strain. It was intended to supplement Motherwell's anthology, which had very few poems as

such, despite its other virtues. That Dada Strain never came out as an anthology, though I

used the title much later for a book of my own poems.

(4) In the case of Duncan, I remember, in our first encounter, introducing him to Paul Celan

qua poet & being introduced by him to Gershom Scholem.

(5) As the editors are well aware, there's a notable lack of women in these opening entries

offset, in the natural course of things by a strong female presence as the book the century

unwind. Thus in the second gallery (post-1960), eight ofthe last ten entries (six ofeight by

another count) are women- a change in the demographics of avantgardism a far cry from

the 1950s (since that's the topic now at hand).

http:/\\ in gs. buffalo. ed u/epciau tho rs/rothen berg/5Os. h m l 10/22/2008

rothenberg, jerome--poetry in the 1950s

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