Jacó

Olson, Charles (1910 - 1970); Corrado Cagli , artist; Caresse Crosby = Mary Phelps Jacob ( 1891 - 1970), publisher;Biblio.com

Y and X : poems by Charles Olson ; drawings by Corrado Cagli. Collectors item no. 1. Second edition in a designer slipcase.

ref. 51-6510Washington DC: The Black Sun Press / Caresse Crosby 1950 . Small 4to. 11 x 13.7cm Original wrapsPresented in a custom made black cloth chemise and gilt slipcase.Minkoff no. A-52b.OCLC Number / Unique Identifier:639841165Any movement poetry can now make beyond the achievement of Pound Williams et al. must make use of the fact of their work and further of what each has stressed as the main work now to be done. We can't discard either of these men by calling them 'experimentalists' or by thinking that however right their method may be for their own apprehension of form we can now ignore its example in our own dilemmas. Unless we also can find for ourselves a method equal to our content show some comprehension of the difficulties involved we stay where we are.A recent comment of Dr. Williams notes one of the headaches. "To me the battle lodges for us as poets in the poetic line something has to be done with that line—it's got to be opened up. . . ." I cite this here since a good many feel that it's just the opposite that should be done that the line must be tightened pulled in fixed. We should by now have a clear idea as to what this kind of tightness implies. To begin with it's an external tightness having more to do with the poem's pattern than with the movement of its sense. And it's this same tightness which Stevens has damned by implication: "There is however a usage with respect to form as if form were a derivative of plastic shape."The five poems in this present collection of Olson's work demonstrate a technique set squarely against this tightness . They mark theMontevallo Review Summer 1951.― 98 ―alternatives. For Olson the line becomes a way to a movement beyond the single impact of the words which go to make it up and brings to their logic a force of its own. Instead of the simple wagon which carries the load he makes it that which drives too to the common logic the sense of the poem.The first poem "La Préface" is an illustration. Here the line is used to make the ground logic beyond the single 'senses' of the words. The poem can't be understood lacking a comprehension of the work the line is doing here. What it does do then is give the base pattern which pulls the poem's juxtaposition of action and thing to a common center where the reader can get to bedrock. Meaning.Put war away with time come into space.It was May precise date 1940. I had air my lungs could breathe.He talked via stones a stick sea rock a hand of earth.It is now precise repeat. I talk of Bigmans organshe look the lines! are polytopes.And among the DPs—deathhead at the apex of the pyramid.The line is the means to focus is that which says 'how' we are to weight the various things we are told. And as it is there to do this work so the words break through to their sense .Perhaps enough to find this use of line in these poems but Olson is a good deal more than a competent technician. There is a reach in these five poems a range of subject and a depth of perception that mark him exceptional. His language is exact hangs tight to the move of his thought.Shallows and miseries shadows from the crossecco men and dull copernican sun.Our attention is simplerThe salts and minerals of the earth returnThe night has a love for throwing its shadows around a mana bridge a horse the gun a grave."The K"Provenance… Collection of Dr. Gregory R. Bonomo Washington, DC: The Black Sun Press / Caresse Crosby, 1950 paperback

Alan Wofsy Fine Arts · Estados UnidosUS$ 400,00≈ € 357,37

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