Miriam Nichols: Machine generated contents note:Section IKnowledge1.Myth and document in Charles Olson's Maximus Poems Stephen Fredman: Section IVHistory13.The contemporaries: a reading of Charles Olson's 'The Lordly and Isolate Satyrs' Peter Middleton: 2.Discoverable unknowns: Olson's lifelong preoccupation with the sciences Reitha Pattison: 3.'Empty Air': Charles Olson's cosmology Michael Grant: 4.A reading of 'In Cold Hell, in Thicket' Daniel Katz: Section IIPoetics5.From Olson's breath to Spicer's gait: spacing, pacing, phonemes Michael Kindellan: 6.Poetic instruction Simon Smith: 7.Reading Blackburn reading Olson: Paul Blackburn reads Olson's 'Maximus, to Gloucester: Letter 15' Gavin Selerie: 8.From Weymouth back: Olson's British contacts, travels and legacy Elaine Feinstein: 9.A fresh look at Olson Rachel Blau DuPlessis: Section IIIGender10.Olson and his Maximus Poems Robert Hampson: 11.'When the attentions change': Charles Olson and Frances Boldereff Will Montgomery: 12.'The pictorial handwriting of his dreams': Charles Olson, Susan Howe, Redell Olsen Anthony Mellors: 14.Futtocks Ben Hickman: 15.Death in life: the past in 'As the Dead Prey Upon Us' Sarah Posman: 16.'To Gerhardt, There, Among Europe's Things of Which He Has Written Us in His "Brief an Creeley und Olson'": Olson on history, in dialogue Tim Woods: 17.'Moving among my particulars': the 'negative dialectics' of The Maximus Poems Charles Bernstein: 18.A note on Charles Olson's 'The Kingfishers' Peter Minter: Section VSpace19.Transcultural projectivism in Charles Olson's 'The Kingfishers' and Clifford Possum Tjapaltjarri's Warlugulong David Herd: 20.The view from Gloucester: Open Field Poetics and the politics of movement Karlien van den Beukel: 21.Why Olson did ballet: the pedagogical avant-gardism of Massine Iain Sinclair: 22.On the back of the elephant: riding with Charles Olson Ralph Maud.: 23.Charles Olson's first poem |
