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Olsonās āProjective Verseā
Since it first appeared in 1950ās third issue of Poetry New York, Olsonās essay-manifesto āProjective Verseā has been the central object of a morass of scholarly wrangling, poetic riffing and enthusiastic Olsoniana. It has received many reprintings: the first, partial replication in 1951ās The Autobiography of William Carlos Williams; then as a stand-alone pamphlet from Totem Press in 1959; in Donald Allenās seminal anthology The New American Poetry 1945ā1960 (1960), which volume it bookends along with Olsonās poem āThe Kingfishersā; in the first collection of Olsonās prose, Human Universe and Other Essays, from 1965; in 1966ās Selected Writings, edited by Robert Creeley; and in a wide variety of editions which emerged after the poetās death in early 1970. There is then no reason to doubt that āProjective Verseā was read both widely and with great interest throughout Olsonās life. This situation was not changed by his untimely death, and indeed it is possible that in recent years āProjective Verseā has come to stand in for āOlsonā as such. Certainly in the present day it is the best-read (or at least most-read) of Olsonās writings. It has been hugely influential in the formation of a range of poetic practices on both sides of the Atlantic and beyond the English-speaking world, and belongs to a core āpostmodernā or āavant-gardeā poetics syllabus familiar no doubt to many readers of this book. And yet it is not obvious quite why any of this is the case. To say that the message, or thesis, or lesson of āProjective Verseā is fundamentally indeterminate is, as I hope to show, perfectly true; but it is a truth which cuts both ways. Many readers are likely to find it a frustrating text, obscure and frequently obtuse. To make explicit what is really going on in āProjective Verseā, and why, is no simple task. If it is fair to say that the essay is foundational, a crucial contribution to Anglophone poetics, it is equally fair to say that its focus on the indeterminate and the processual often overwhelms its capacities as a propositional text ā and many critics have said just this, sometimes in less diplomatic terms. The deep uncertainty surrounding and lodged in this most ābasicā Olsonian text goes some way towards explaining broader problematics within the history of his workās reception, but it also delineates some central tensions which carry through the next two decades of Olsonās writing.
Despite an ever-increasing body of scholarly and critical work, our understanding of how to read Olsonās writing remains much as it did at the time of his death. Notwithstanding the existence of a good dozen monographs and several essay collections dedicated to his work, a number of what might seem to be basic questions have yet to be settled, even (perhaps especially) in the cases of texts, like āProjective Verseā, which are universally read as central to Olsonās thinking and writing. In the introduction to a recent and significant collection of essays entitled Contemporary Olson (2015), David Herd writes of the new proliferation of Olson studies that ā[t]he degree to which, as a consequence of such sustained scholarship, we know how to read Olson remains a moot pointā.1 This uncertainty is hardly confined to younger or more recent commentators. Elaine Feinstein, the poet and correspondent of Olsonās (his āLetter to Elaine Feinsteinā is seen as one of his key theoretical statements, and as a sequel to āProjective Verseā), writes that ā[i]n my own poems, itās easier to make out what Olson liberated me from than exactly what I learned from himā.2 Since Olson first rose to prominence, the consensus has been that his work stages a specific, but also a paradigm-changing, set of challenges to reading, even as it provided a number of hugely permission-giving gestures to contemporary writing. One of the distinctive characteristics of Olson scholarship is the readiness with which this uncertainty is admitted.
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āProjective Verseā begins with a set of sharp distinctions: āProjective Verse / (projectile (percussive (prospective / vs. / The NON-Projectiveā; āclosedā verse against āopenā verse; Wordsworth and Milton against Pound and Williams.3 The rhetorical force of these divisions does much more than it explicitly says ā readers are pulled directly into a formal, cultural and historical polemic which is already an unanchored, floating zone of contention ā already a vortex, one might say ā even before any term is defined or given much context. āProjective Verseā is divided into two sections (āIā and āIIā), which, it is claimed, will first pin down some of these terms and judgements, and then proceed to elucidate their significance and their āessential useā.4 The first section is loosely technical and the second is more speculative. Olson writes,
I want to do two things: firstly, try to show what projective or OPEN verse is, what it involves, in its act of composition, how, in distinction from the non-projective, it is accomplished; and II, suggest a few ideas about what stance toward reality brings such verse into being, what the stance does, both to poet and to his reader. (The stance involves, for example, a change beyond, and larger than, the technical, and may, the way things look, lead to a new poetics and to new concepts from which some sort of drama, say, or of epic, perhaps, may emerge.)5
The first section is the one more familiar to most readers and critics, containing a number of analyses, examples and suggestions which are frequently understood as a set of ātips for poetsā, providing Olsonās pronouncements on the primacy of breath in poetry, on poetry considered as āhigh-energy transfer of perceptionā, on the necessity of ditching received syntax, on the reclamation of the syllable against received metrics and on the utility of the typewriter pursuant to this project.6 These have become the traditional talking points for scholars and readers of āProjective Verseā.
The second section, briefer and more gnomic, deals with what Olson calls the āstance toward realityā, and later āthe new stance toward reality of the poem itselfā, which such an āopenā or āprojectiveā poetics would entail.7 That this latter section has received less attention and comment is unsurprising, in part because it is unclear whether Olsonās ānew stance to realityā inheres in poetry particularly or instead in some broader shift in phenomenological attitude ā a tension which replicates itself across all of Olsonās work, and is never really resolved ā and this uncertainty makes the stakes of Olsonās claims hard to assess. Primarily, however, the statement that the stance involves āa change beyond, and larger than, the technicalā is hard to square with the avowedly ātechnicalā recommendations of Projective Verse Part I in anything but the broadest and most metaphorical terms ā the āopeningā of the page as field allowing for an āopeningā of the poetās āprojective sizeā in some more general sense, for example. What I want to suggest here is that redescribing āProjective Verseā according to this āmeta-technicalā formula, as a text which begins to orient modernist versification in a more indeterminate fashion, provides a helpful way of thinking about the essayās significance both for Olsonās own writing and for the criticism that has grown up around it. As Olson composed āProjective Verseā he had already begun to imagine and produce what was to become The Maximus Poems ā the work from which, as he has it, āsome sort [. . .] of epic, perhaps, might emergeā ā and in this context it is not only fruitful but crucial to consider the essay operating on a level ābeyond the technicalā, tipping into a more ambitious and more indeterminate act of inauguration.
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Most readings of āProjective Verseā share a number of common features and concerns. These primarily coalesce around two allied issues: the openness of the āfieldā in Olsonās writing ā the free use of the page and the accelerated breakdown of received poetic form he prescribes ā and the corporeality of the future verse he imagines will populate it. This is as close as it comes to a consensus view on āProjective Verseā, a representative example of which can be found in Kaplan Harrisās survey-essay on āBlack Mountain Poetryā: ā[Olsonās] major accomplishment was to define verse according to the body rather than traditional poetic form.ā8 Questions of majority aside, this is an essentially accurate assessment of Olsonās proposition in āProjective Verseā. But it is not clear what such a statement means or indicates in practice; it risks setting up an unsustainable gulf between received and ābodilyā form in poetry of a type which seems untrue to the history of writing and theorizing poetics ranging generically from epic to lyric, and historically as far back as Homer. Nor is it obvious that ānon-traditionalā poetic form is concurrent with āthe bodyā ā notably, Olson is adamant that Eliotās (un)free versification is ānot projectiveā.9 This distinction is significant. Eliot expressed qualified opposition to the idea of a vers libre, writing that no verse is fully free because all verse can be described under the rules of traditional scansion, however provisionally.10 In Eliotās view, traditional versification forms the backdrop to all English-language verse, such that in vers libre, so-called, the versification is not so much free as it is engaged in a game of cat and mouse with iambic pentameter and other received forms.11 In other words, the āfreedomā of free verse only emerges in distinction from, and in dialogue with, received forms. For Eliot, traditional verse forms parallel Iserās āminus functionsā in that their absence summons their memory, and supposedly āfreeā verse is only readable in contrast to them.12 Whilst this seems a viable way of understanding the variable versification of The Waste Land, and even the somewhat pastiche formality of sections of Four Quartets, it is less clear that it is a paradigm to which Olsonās adventures in non-traditional verse are easily accommodated.13 This suggests it is not the replacement of the traditional with the bodily as line-measure which marks Olsonās poetics out from those of his predecessors but rather a more āopenā liberation from the idea of a governing paradigm for versification as such. Furthermore, critical emphasis on the corporeality of Olsonās poetics fails to account for the regularity with which ātraditional formā appears in his own work, with rhyme and ballad meter especially being fairly common devices. Either Olson is not following his own advice, or his own understanding of āProjective Verseās significance was rather more complex than this skeleton account suggests. Both of these options contain some truth, and the strictures of āProjective Verseā certainly recede as Olsonās writing progresses, but it is nonetheless evident that the āopen fieldā and the ābodilyā require further elucidation to establish their importance both as part of āProjective Verseā and for Olsonās writing as a whole.
Throughout Olson criticism, some account of ācomposition by fieldā is more or less ubiquitous, although precisely how to read the āfieldā (how to ābeat a path through the fieldā as Peter Middleton puts it) is a matter of perennial disagreement.14 Olsonās notion of breath-composition, in which āthe line comes (I swear it) from the breath, from the breathing of the man who writes, at the moment he writesā, perhaps the textās most famous single prescription, is usually taken in tandem with the idea of the āfieldā to mean that lines can be as long as they āfeelā rather than as long as they are prescribed.15 The obvious point here is that in tying the line to the variable length of a breath, Olson is explicitly demoting the importance of āformā understood as ...