Poetry, Modern -- 20th century

Abstract Robert Creeley presents a class focused on the moving what's "inside--the imaginable, emotional, and conceptual world of the writer--into contact with what's outside--the world of other people, events, and situations." Creeley begins his discussion with William Carlos Williams' movement between thought and event in "Desert Music." He then presents examples of the ways in which the different imaginable worlds of individuals interact to create "external" situations, referring to John Glenn,...

Abstract Robert Creeley presents a class focused on the moving what's "inside--the imaginable, emotional, and conceptual world of the writer--into contact with what's outside--the world of other people, events, and situations." Creeley presents certain LSD experiences as examples of what happens when an experience cannot connect to the wider social context of meaning, and contrasts science's concern with the general to art's concern with the exception. Other topics covered include the dangers of...

Abstract

Creeley's lecture focuses on the work of Louis Zukofsky and Gertrude Stein. Creeley reads from a selection of both writers' work, especially focusing on Zukofsky's "A" and Stein's "Composition As Explanation."

Abstract

Creeley spends the majority of the class discussing various works by Charles Olson, reading his "Hotel Steinplatz, Berlin, December 25." Creeley, Ginsberg, and class have a lengthy discussion about symbolism.

Abstract

Creeley spends the majority of his lecture speaking and reading from a letter from Jeremy Prine to Ed Dorn. Creeley also reads Charles Olson's poem "Letter 27 Withheld."

Abstract

Creeley spends the class reading and discussing the work of Charles Olson and Robert Duncan.

Abstract

This document contains a translation of a Yiddish poem. The poem was originally written on July 16, 1942 by Lipa Feingold and it was translated by Shirley Keller.