{"id":939,"date":"2023-03-23T12:49:53","date_gmt":"2023-03-23T16:49:53","guid":{"rendered":"https:\/\/umaine.edu\/poetry\/?page_id=939"},"modified":"2024-10-09T15:46:18","modified_gmt":"2024-10-09T19:46:18","slug":"1950s-conference","status":"publish","type":"page","link":"https:\/\/umaine.edu\/poetry\/1950s-conference\/","title":{"rendered":"American Poetry in the 1950s"},"content":{"rendered":"<style>.kb-row-layout-id939_34f0b4-f9 > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id939_34f0b4-f9 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id939_34f0b4-f9 > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}.kb-row-layout-id939_34f0b4-f9 > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id939_34f0b4-f9 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}}@media all and (max-width: 767px){.kb-row-layout-id939_34f0b4-f9 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id939_34f0b4-f9 alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-right-golden kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column939_50cb5c-2c > .kt-inside-inner-col,.kadence-column939_50cb5c-2c > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column939_50cb5c-2c > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column939_50cb5c-2c > .kt-inside-inner-col{flex-direction:column;}.kadence-column939_50cb5c-2c > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column939_50cb5c-2c > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column939_50cb5c-2c{position:relative;}@media all and (max-width: 1024px){.kadence-column939_50cb5c-2c > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column939_50cb5c-2c > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column939_50cb5c-2c\"><div class=\"kt-inside-inner-col\"><style>.kb-image939_85005e-82 .kb-image-has-overlay:after{opacity:0.3;}<\/style>\n<figure class=\"wp-block-kadence-image kb-image939_85005e-82 size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-683x1024.jpg\" alt=\"A scan of the cover for the conference American Poetry in the 1950s\" class=\"kb-img wp-image-940\" srcset=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-683x1024.jpg 683w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-200x300.jpg 200w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-768x1151.jpg 768w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-93x140.jpg 93w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-317x475.jpg 317w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-423x634.jpg 423w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-634x950.jpg 634w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001-846x1268.jpg 846w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/50s-conf001.jpg 890w\" sizes=\"auto, (max-width: 320px) 85vw, (max-width: 768px) 67vw, (max-width: 1024px) 62vw,683px\" \/><\/figure>\n<\/div><\/div>\n\n\n<style>.kadence-column939_0ddb9f-5b > .kt-inside-inner-col,.kadence-column939_0ddb9f-5b > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column939_0ddb9f-5b > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column939_0ddb9f-5b > .kt-inside-inner-col{flex-direction:column;}.kadence-column939_0ddb9f-5b > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column939_0ddb9f-5b > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column939_0ddb9f-5b{position:relative;}@media all and (max-width: 1024px){.kadence-column939_0ddb9f-5b > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column939_0ddb9f-5b > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column939_0ddb9f-5b\"><div class=\"kt-inside-inner-col\">\n<h3 class=\"wp-block-heading\">Program<\/h3>\n\n\n\n<p>WEDNESDAY, JUNE 19<\/p>\n\n\n\n<p><strong>Session #1, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>M.L. Rosenthal, \u201cKarl Shapiro and the Rich Continuities of the Fifties\u201d<\/p>\n\n\n\n<p><strong>Session #2, Panels<\/strong><\/p>\n\n\n\n<p>Panel 2A: H.D.<\/p>\n\n\n\n<p>Chair: Cassandra Laity<\/p>\n\n\n\n<p>Crystal Anderson, \u201cLifting the Veil of Cytheraea: H.D.\u2019s Revisionist Modernism in&nbsp;<em>Helen in Egypt<\/em>\u201d<\/p>\n\n\n\n<p>Anita George, \u201cRe-Visions of Helen: Sappho Fr. 16 and H.D.\u2019s&nbsp;<em>Helen in Egypt<\/em>\u201d<\/p>\n\n\n\n<p>Charlotte Hussey, \u201c\u2018A rhythm as yet unheard to challenge the trumpet note\u2019: Analyzing the Poetic Line Used in H.D.\u2019s&nbsp;<em>Helen in Egypt<\/em>\u201d<\/p>\n\n\n\n<p>Panel 2B: John Berryman<\/p>\n\n\n\n<p>Chair: Constance Hunting<\/p>\n\n\n\n<p>Jori Finkel, \u201cThe Sloppy Modernism of&nbsp;<em>St. Pancras Blaser<\/em>: Berryman\u2019s Unpublished Dream Songs\u201d<\/p>\n\n\n\n<p>Tony Moore, \u201cDying to Write: Death and the Repetition Compulsion in John Berryman\u2019s&nbsp;<em>The Dream Songs<\/em>\u201d<\/p>\n\n\n\n<p>Ernest Smith, \u201cJohn Berryman\u2019s \u2018Programmatic\u2019 for&nbsp;<em>The Dream Songs<\/em>, and an Instance of Revision\u201d<\/p>\n\n\n\n<p>Panel 2C: Allen Ginsberg and Jack Kerouac<\/p>\n\n\n\n<p>Chair: Batya Weinbaum<\/p>\n\n\n\n<p>Jonathan Ivry, \u201cThe Poetics of Obscenity: Ginsberg and Mapplethorpe on Trial\u201d<\/p>\n\n\n\n<p>Batya Weinbaum, \u201cWomen as Bitch, Dead or Mad in the 1950s Poetry of Allen Ginsberg: Groundwork for Revolutionary Change?\u201d<\/p>\n\n\n\n<p>Kurt Hemmer, \u201cThe Western Haiku: Kerouac as Imagist\u201d<\/p>\n\n\n\n<p>Panel 2D: The Poem in the Ear and on the Page<\/p>\n\n\n\n<p>Chair: Dean Taciuch<\/p>\n\n\n\n<p>Jill K. Randall, \u201c<em>Just Space<\/em>: Joanne Kyger\u2019s Poetic Line\u201d<\/p>\n\n\n\n<p>Michael Alpert, \u201cCity Lights Books from a Printer\u2019s Point of View\u201d<\/p>\n\n\n\n<p>Hank Lazer, \u201cToward the Lyric Valuables: The Short Line in the Early 1950s\u201d<\/p>\n\n\n\n<p>Panel 2E: Elizabeth Bishop I<\/p>\n\n\n\n<p>Chair: Jennifer Craig Pixley<\/p>\n\n\n\n<p>Wendy VerHage Falb, \u201c\u2018Resolution and Independence\u2019 in the 1950s?: Elizabeth Bishop and the Crisis of Lyric Poetry\u201d<\/p>\n\n\n\n<p>Renee R. Curry, \u201c\u2018A Sort of Inheritance; White\u2019: Elizabeth Bishop, Poetry, and Selective Self-Reflection on Whiteness\u201d<\/p>\n\n\n\n<p>Leslie Hatcher, \u201cElizabeth Bishop\u2019s \u2018Visits to St. Elizabeths\u2019\u201d<\/p>\n\n\n\n<p>Panel 2F: Frank O\u2019Hara I<\/p>\n\n\n\n<p>Chair: Rosanne Wasserman<\/p>\n\n\n\n<p>Peter R. McGahey, \u201cFrank O\u2019Hara\u2019s Visual Poetry: Abstract Expressionism in Verse\u201d<\/p>\n\n\n\n<p>Chris Stroffolino, \u201cDesign and the Figure in Selected Frank O\u2019Hara Poems from 1952\u201d<\/p>\n\n\n\n<p><strong>Session #3, Panels<\/strong><\/p>\n\n\n\n<p>Panel 3A: Stephen Jonas and Melvin Tolson<\/p>\n\n\n\n<p>Chair: Aldon L. Nielsen<\/p>\n\n\n\n<p>Mark Scroggins, \u201cStephen Jonas and the Exercise of the Ear\u201d<\/p>\n\n\n\n<p>Keith Leonard, \u201cMelvin Tolson\u2019s Rattling of Eliotic Bones: Black Culture, New Art, and the Transformation of the Word\u201d<\/p>\n\n\n\n<p>Aldon L. Nielsen, \u201cCarrying Deconstruction to Cleveland in the 1950s\u201d<\/p>\n\n\n\n<p>Panel 3B: Denise Levertov<\/p>\n\n\n\n<p>Chair: Albert Gelpi<\/p>\n\n\n\n<p>Paul A. Lacey, \u201c\u2018To Meditate a Saving Strategy\u2019: Denise Levertov\u2019s Religious Poetry\u201d<\/p>\n\n\n\n<p>Nancy K. Gish, \u201c\u2018Imaginations of Velvet\u2019: Levertov in the Fifties\u201d<\/p>\n\n\n\n<p>Jose Rodriguez Herrera, \u201cThe Myth of Eros in the Poetry of Denise Levertov\u201d<\/p>\n\n\n\n<p>Panel 3C: Robert Duncan<\/p>\n\n\n\n<p>Chair: Maria Damon<\/p>\n\n\n\n<p>David Cuthbert, \u201cRobert Duncan and the State of Emergency\u201d<\/p>\n\n\n\n<p>David Peterson, \u201cThe Queer Who Came in from the Cold: Robert Duncan\u2019s Mid-Century Construction of Homosexual Identity\u201d<\/p>\n\n\n\n<p>Joseph Conte, \u201cRobert Duncan\u2019s Polymathic Postmodernism\u201d<\/p>\n\n\n\n<p>Panel 3D: Lawrence Ferlinghetti, Philip Whalen, and Paul Blackburn<\/p>\n\n\n\n<p>Chair: Harvey Kail<\/p>\n\n\n\n<p>Tyler B. Hoffman, \u201c\u2018Clear Your Throat and Speak Up\u2019: Lawrence Ferlinghetti\u2019s Beat Poetics and a Hermeneutics of Performance\u201d<\/p>\n\n\n\n<p>Bruce Holsapple, \u201cWhalen\u2019s Work: Break Through and Stay Out\u201d<\/p>\n\n\n\n<p>Brian Spector, \u201cEast Tenth Street and Other Foreign Places: Landscape in the Poetry of Paul Blackburn\u201d<\/p>\n\n\n\n<p>Panel 3E: Mina Loy, Marianne Moore, and Muriel Rukeyser<\/p>\n\n\n\n<p>Chair: Susan E. Dunn<\/p>\n\n\n\n<p>Joshua Weiner, \u201cAn Otherwise Beat: Mina Loy\u2019s \u2018Hot Cross Bum\u2019\u201d<\/p>\n\n\n\n<p>Meg Schoerke, \u201cEfforts of Affection: Marianne Moore\u2019s Elegies for Her Mother from&nbsp;<em>Collected Poems<\/em>&nbsp;(1951)\u201d<\/p>\n\n\n\n<p>Marisa Anne Pagnattaro, \u201cMuriel Rukeyser\u2019s&nbsp;<em>One Life<\/em>: The Law vs. the Law of Process\u201d<\/p>\n\n\n\n<p>Panel 3F: John Ashbery, A.R. Ammons, and Kenneth Koch<\/p>\n\n\n\n<p>Chair: Steven Schneider<\/p>\n\n\n\n<p>Rosanne Wasserman, \u201cA House Tour: John Ashbery\u2019s Paintings at Home\u201d<\/p>\n\n\n\n<p>Kevin McGuirk, \u201cAmmons and the Nuclear Gaze\u201d<\/p>\n\n\n\n<p>David Chinitz, \u201cKenneth Koch and the Invention of Postmodern Poetry\u201d<\/p>\n\n\n\n<p><strong>Session #4, Reading: Ruth Stone<\/strong><\/p>\n\n\n\n<p>Chair: Rosanne Wasserman<\/p>\n\n\n\n<p><strong>Session #5, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Alan Golding<\/p>\n\n\n\n<p>Robert von Hallberg, \u201cRobert Hayden: Aspiration to Universality\u201d<\/p>\n\n\n\n<p><strong>Session #6, Reading: Armand Schwerner<\/strong><\/p>\n\n\n\n<p>Chair: Norman Finkelstein<\/p>\n\n\n\n<p><strong>Session #7, Reading: Maine Poets<\/strong><\/p>\n\n\n\n<p>Chair: Constance Hunting<\/p>\n\n\n\n<p>David J. Adams, Bruce Holsapple, Terrell Hunter, Constance Hunting, Kathleen Lignell, Ken Norris, Jennifer Craig Pixley, Sylvester Pollet, Don Wellman<\/p>\n\n\n\n<p>THURSDAY, JUNE 20<\/p>\n\n\n\n<p><strong>Session #8, Panels<\/strong><\/p>\n\n\n\n<p>Panel 8A: Audre Lorde and Ruth Stone<\/p>\n\n\n\n<p>Chair: Rosanne Wasserman<\/p>\n\n\n\n<p>Shirley Zenthoefer Campbell, \u201cFrom Mexico to Mississippi: Poetry from the Early Years in the Life of Audre Lorde\u201d<\/p>\n\n\n\n<p>Jennifer Craig Pixley, \u201cA Particular Woman: Scientific Language in the Poetry of Ruth Stone\u201d<\/p>\n\n\n\n<p>Rosanne Wasserman, \u201cRuth Stone: Shaming the Ghost\u201d<\/p>\n\n\n\n<p>Panel 8B: James Schuyler, Jonathan Williams, and Ronald Johnson<\/p>\n\n\n\n<p>Chair: Sylvester Pollet<\/p>\n\n\n\n<p>Paul Bauschatz, \u201cJames Schuyler\u2019s&nbsp;<em>Picnic Cantata<\/em>: The Art of the Ordinary\u201d<\/p>\n\n\n\n<p>Wendy Kramer, \u201c\u2018A Curious Occasion\u2019 or \u2018Why Jonathan Williams is My Gertrude Stein of Content\u201d<\/p>\n\n\n\n<p>Peter O\u2019Leary, \u201c<em>ARK<\/em>&nbsp;as a Spiritual Phenomenon: An Approach to Reading Ronald Johnson\u2019s Poem\u201d<\/p>\n\n\n\n<p>Panel 8C: H.D. and Others<\/p>\n\n\n\n<p>Chair: Cassandra Laity<\/p>\n\n\n\n<p>Joan A. Burke, \u201c\u2018Into Deep Woods\u2019: H.D. and Denise Levertov\u201d<\/p>\n\n\n\n<p>Susan Kayorie, \u201cThe Worm and the Rat: Transformations in the Poetry of H.D. and Anne Sexton\u201d<\/p>\n\n\n\n<p>Margaret Anne Smith, \u201cThe Transformative Powers of the Sea in H.D.\u2019s&nbsp;<em>Helen in Egypt<\/em>&nbsp;and Adrienne Rich\u2019s&nbsp;<em>Diving into the Wreck<\/em>\u201d<\/p>\n\n\n\n<p>Panel 8D: Theodore Enslin and Edward Dorn<\/p>\n\n\n\n<p>Chair: Craig Watson<\/p>\n\n\n\n<p>Mark Nowak, \u201cEthnographic Method and Theodore Enslin\u2019s \u2018New Sharon\u2019s Prospect\u201d<\/p>\n\n\n\n<p>Mark Hammer, \u201cTheodore Enslin in the 1950s\u201d<\/p>\n\n\n\n<p>Burton Hatlen, \u201cAfter Olson: Place, Space, and Language in the Poetry of Edward Dorn and Theodore Enslin\u201d<\/p>\n\n\n\n<p>Panel 8E: Figuring Jewish-American Poetics in the 50s<\/p>\n\n\n\n<p>Chair and Respondent: Norman Finkelstein<\/p>\n\n\n\n<p>Maeera Shreiber, \u201cThe Unkindest Cut: Karl Shapiro and the Anxieties of Jewish\/American Poetry\u201d<\/p>\n\n\n\n<p>Stephen A. Fredman, \u201cAllen Ginsberg: \u2018Eastern Jew\u2019\u201d<\/p>\n\n\n\n<p>Eric Murphy Selinger, \u201cFrom Bop Kabbalah to Jews with Horns: The Fifties Roots of \u2018Radical Jewish Culture\u2019\u201d<\/p>\n\n\n\n<p>Panel 8F: Ezra Pound I<\/p>\n\n\n\n<p>Chair: Demetres P. Tryphonopolous<\/p>\n\n\n\n<p>Stephen Sicari, \u201cPound as Archaeologist: Reconstructing Nature\u201d<\/p>\n\n\n\n<p>Brian M. Reed, \u201cEzra Pound\u2019s Utopia of the Eye: The Chinese Characters in&nbsp;<em>Rock-Drill<\/em>\u201d<\/p>\n\n\n\n<p>Robert Kibler, \u201cA Taoist Understanding of the Word and Pound\u2019s Magic Characters\u201d<\/p>\n\n\n\n<p>Panel 8G: Frank O\u2019Hara II<\/p>\n\n\n\n<p>Chair: Joseph Conte<\/p>\n\n\n\n<p>Andrew Epstein,&nbsp; \u201c\u2018The Inexorable Product of My Own Time\u2019: Frank O\u2019Hara\u2019s Poetry and the Cinema\u201d<\/p>\n\n\n\n<p>Nick Lawrence, \u201cFrank O\u2019Hara,&nbsp;<em>Situtionniste<\/em>\u201d<\/p>\n\n\n\n<p>George Guida, \u201cMoment and Truth in the Poems of Frank O\u2019Hara\u201d<\/p>\n\n\n\n<p><strong>Session #9, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Barrett Watten<\/p>\n\n\n\n<p>Michael Davidson, \u201cManaging the Margins: Poetry and the Politics of Containment\u201d<\/p>\n\n\n\n<p><strong>Session #10, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Alan Golding<\/p>\n\n\n\n<p>Rachel Blau DuPlessis, \u201cManhood and its Poetic Practices: Some Examples from the Fifties\u201d<\/p>\n\n\n\n<p><strong>Session #11, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Ann Charters<\/p>\n\n\n\n<p>Albert Gelpi, \u201cDenise Levertov and Robert Creeley: The Dialectic within Black Mountain Poetics\u201d<\/p>\n\n\n\n<p><strong>Session #12, Panels<\/strong><\/p>\n\n\n\n<p>Panel 12A: John Berryman and James Wright<\/p>\n\n\n\n<p>Chair: Constance Hunting<\/p>\n\n\n\n<p>Kathie Davis, \u201cBerryman as Mother: American Manhood in the Fifties\u201d<\/p>\n\n\n\n<p>David A. Rice, \u201cThe Cell, the Containment\u201d<\/p>\n\n\n\n<p>William Thompson, \u201cJames Wright\u2019s&nbsp;<em>The Green Wall<\/em>: Poetry and Technique\u201d<\/p>\n\n\n\n<p>Panel 12B: Jack Spicer<\/p>\n\n\n\n<p>Chair: Michael Davidson<\/p>\n\n\n\n<p>Peter Gizzi, \u201cJack Spicer and the Practice of Reading\u201d<\/p>\n\n\n\n<p>Paul Naylor, \u201cThe Politics of Not Being Political: Pure Poetry and Jack Spicer\u2019s&nbsp;<em>A Book of Music<\/em>\u201d<\/p>\n\n\n\n<p>Don Wellman, \u201cSpicer\u2019s Conceptualization of the Book\u201d<\/p>\n\n\n\n<p>Panel 12C:&nbsp;<em>The New American Poetry<\/em>&nbsp;Revisited<\/p>\n\n\n\n<p>Chair: Henry Weinfield<\/p>\n\n\n\n<p>Henry Weinfield, \u201cProjective Verse Revisited\u201d<\/p>\n\n\n\n<p>Alan Golding, \u201cThe New American Poetry: A Trip through the Archives\u201d<\/p>\n\n\n\n<p>Norman Finkelstein, \u201c\u2018Lyrical Interference\u2019 in&nbsp;<em>The New American Poetry<\/em>\u201d<\/p>\n\n\n\n<p>Panel 12D: Anne Sexton and Sylvia Plath<\/p>\n\n\n\n<p>Chair: Priscilla Paton<\/p>\n\n\n\n<p>Elise Aasgaard, \u201c\u2018We are magic talking to itself\u2019: Rhyme and Ritual in the Early Poetry of Anne Sexton\u201d<\/p>\n\n\n\n<p>Ethan Lewis, \u201cSylvia Plath \u2013 An Appreciation\u201d<\/p>\n\n\n\n<p>H.C. Phelps, \u201cNew England Elegies: Sylvia Plath and the Regional Tradition in Poetry\u201d<\/p>\n\n\n\n<p>Panel 12E: Frank O\u2019Hara III<\/p>\n\n\n\n<p>Chair: Charles Altieri<\/p>\n\n\n\n<p>Terence Diggory, \u201cFrank O\u2019Hara\u2019s Urban Pastoral\u201d<br>Katherine M. Davis, \u201cMelodramas of Object-Choice in the Poetry of Frank O\u2019Hara\u201d<\/p>\n\n\n\n<p>Vainis Aleksa, \u201cVersions of Frank O\u2019Hara in the Literary Magazines\u201d<\/p>\n\n\n\n<p>Panel 12F: Ezra Pound II<\/p>\n\n\n\n<p>Chair: Demetres P. Tryphonopoulos<\/p>\n\n\n\n<p>Michael Golston, \u201cInaudible Rhythms: Form in Pound\u2019s Cantos of the Fifties\u201d<\/p>\n\n\n\n<p>William Cole, \u201cPound\u2019s Web: Hypertext in the&nbsp;<em>Rock-Drill<\/em>&nbsp;Cantos\u201d<\/p>\n\n\n\n<p>Jonathan Ausubel, \u201cSeeing Postwar Poetry: What Pound Studies and Concrete Can Show 91¸£Àû How We Read\u201d<\/p>\n\n\n\n<p>Panel 12G: Historical Contexts<\/p>\n\n\n\n<p>Chair: Jenny Goodman<\/p>\n\n\n\n<p>Elizabeth Losh, \u201cAfter Auschwitz: American Poetries of the Holocaust\u201d<\/p>\n\n\n\n<p>Jeffrey Peterson, \u201cThe \u2018Two Cultures\u2019 of Postwar Anglo-American Poetry\u201d<\/p>\n\n\n\n<p>James Smethurst, \u201cAmerica I Used to Be a Communist When I was a Kid I\u2019m Not Sorry: The Popular Front and the Rise of the New American Poetry\u201d<\/p>\n\n\n\n<p><strong>Session #13, Panels<\/strong><\/p>\n\n\n\n<p>Panel 13A: Randall Jerrell<\/p>\n\n\n\n<p>Chair: M.L. Rosenthal<\/p>\n\n\n\n<p>Ralph Savarese, \u201cRandall Jarrell: The Poet as Dromomaniac\u201d<\/p>\n\n\n\n<p>Jennifer L. Holden, \u201cAn Indistinguishable Heart at the Supermarket: Examining the Discourse of Erased Identity in Randall Jarrell\u201d<\/p>\n\n\n\n<p>David J. Adams, \u201cInside and Outside: Randall Jerrell\u2019s Path Through 1950s American Poetry\u201d<\/p>\n\n\n\n<p>Panel 13B: The School of Boston I<\/p>\n\n\n\n<p>Chair: Joseph Donahue<\/p>\n\n\n\n<p>Albert Gelpi, \u201cKerouac and Lowell: The Catholic Connection\u201d<\/p>\n\n\n\n<p>Marisa Januzzi, \u201cKerouac, Berrigan, and the Poetics of Providence\u201d<\/p>\n\n\n\n<p>Joseph Donahue, \u201cNothing Deserves to Live: Abjection and the Occult in John Wieners\u201d<\/p>\n\n\n\n<p>Panel 13C: Elizabeth Bishop II<\/p>\n\n\n\n<p>Chair: Leslie Hatcher<\/p>\n\n\n\n<p>Mary M. Lacey, \u201cThe Violet was Flawed on the Lawn: Problems of Religious Belief in Elizabeth Bishop\u2019s&nbsp;<em>A Cold Spring<\/em>\u201d<\/p>\n\n\n\n<p>Elizabeth Nettrour, \u201cElizabeth Bishop\u2019s \u2018Geography III\u2019: \u2018The Art of Losing\u2019 Referential Meaning\u201d<\/p>\n\n\n\n<p>Priscilla Paton, \u201cLost Prospects: Elizabeth Bishop and Poetic Landscape\u201d<\/p>\n\n\n\n<p>Panel 13D: George Oppen<\/p>\n\n\n\n<p>Chair: Theodore Enslin<\/p>\n\n\n\n<p>John Lowney, \u201cRemapping Oppen\u2019s \u2018Return\u2019\u201d<\/p>\n\n\n\n<p>Josh Charlson, \u201c\u2018The Air Perhaps of Love and of Conviction\u2019: Envisioning Love in George Oppen\u2019s Later Poetry\u201d<\/p>\n\n\n\n<p>Grant Jenkins, \u201c\u2018A Poetics of Obligation\u2019: The Trace of Ethics in George Oppen\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Panel 13E: Robert Creeley<\/p>\n\n\n\n<p>Chair: Alan Golding<\/p>\n\n\n\n<p>James J. Zeigler, \u201cRobert Creeley\u2019s Language Games\u201d<\/p>\n\n\n\n<p>Willard (Skip) Fox, \u201cDiscordia Discors: Ironic Subversion of the Self and Other in Creeley, O\u2019Hara, and Spicer\u201d<\/p>\n\n\n\n<p>Peter Baker, \u201cCreeley\u2019s Gift\u201d<\/p>\n\n\n\n<p>Panel 13F: Robert Lowell I<\/p>\n\n\n\n<p>Chair: Tony Moore<\/p>\n\n\n\n<p>Sean P. Connelly, \u201cFather, Son, and Genteel Objects: The Mourning of an Imaginary Genealogy in Robert Lowell\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Steven Gould Axelrod, \u201cRobert Lowell and the Shattered Image of Home\u201d<\/p>\n\n\n\n<p>Panel 13G: Other Voices I<\/p>\n\n\n\n<p>Chair: Kathleen Lignell<\/p>\n\n\n\n<p>Kathleen Crown, \u201cH.D. in the 1950s: The Apparitional Figures in&nbsp;<em>Sagesse<\/em>\u201d<\/p>\n\n\n\n<p>Barrett Watten, \u201cBeing Hailed In and By the 1950s: Cultural Poetics and Social Negativity\u201d<\/p>\n\n\n\n<p>Panel 13H: In and 91¸£Àû San Francisco<\/p>\n\n\n\n<p>Chair: William Thompson<\/p>\n\n\n\n<p>Laban Carrick Hill, \u201cWeldon Kees in San Francisco: The Poetics of Dis-Solution\/Illusion\u201d<\/p>\n\n\n\n<p>Vic Tulli, \u201cPosing, Passing, Crossing, Clashing: Thom Gunn and the Naturalization of a U.S. Poet\u201d<\/p>\n\n\n\n<p>Robert Pickford, \u201cWords, Music, and Beat: Developing a Listening Methodology for the Beat\/San Francisco Poetry and Jazz Recordings\u201d<\/p>\n\n\n\n<p><strong>Session #14, Song Recital<\/strong><\/p>\n\n\n\n<p>Nancy Ogle, Soprano<\/p>\n\n\n\n<p><em>A program of songs based on poems by poets of the 1950s<\/em><\/p>\n\n\n\n<p><strong>Session #15, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Marjorie Perloff<\/p>\n\n\n\n<p>Charles Altieri, \u201cThe Poetics of Personal Contingency in Plath, Creeley, and O\u2019Hara\u201d<\/p>\n\n\n\n<p><strong>Session #16, Reading: Jerome Rothenberg<\/strong><\/p>\n\n\n\n<p>Chair: Michael Davidson<\/p>\n\n\n\n<p><strong>Session #17, Group Reading<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Rachel Blau DuPlessis<\/p>\n\n\n\n<p>Alicia Ostriker<\/p>\n\n\n\n<p>M.L. Rosenthal<\/p>\n\n\n\n<p>FRIDAY, JUNE 21<\/p>\n\n\n\n<p><strong>Session #18, Panels<\/strong><\/p>\n\n\n\n<p>Panel 18A: Frank O\u2019Hara IV<\/p>\n\n\n\n<p>Chair: Geoffrey O\u2019Brien<\/p>\n\n\n\n<p>Timothy F. Waples, \u201cFrank O\u2019Hara\u2019s Nerve: The Individual Artist\u2019s Stake in Cold War Cultural Politics\u201d<\/p>\n\n\n\n<p>Benjamin Friedlander, \u201c\u2018The Most Difficult Relationship\u2019: Frank O\u2019Hara on Race in the 1950s\u201d<\/p>\n\n\n\n<p>Steve Evans, \u201cFrank O\u2019Hara and the Politics of Emergence\u201d<\/p>\n\n\n\n<p>Panel 18B: Other Voices II<\/p>\n\n\n\n<p>Chair: Michael Davidson<\/p>\n\n\n\n<p>Fred Wright:&nbsp; \u201c\u2018My Life by Water\u2019: The Connection Between Consciousness and Water in Lorine Niedecker\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Anita Plath Helle, \u201cAmerican Cold War Elegy: \u2018Lost to Lust and Prosecution\u2019\u201d<\/p>\n\n\n\n<p>Sarah E. MacDonald, \u201cWriting Out of War\u201d<\/p>\n\n\n\n<p>Panel 18C: Charles Olson<\/p>\n\n\n\n<p>Chair: Jonathan Ausubel<\/p>\n\n\n\n<p>Carla Billitteri, \u201cOlson and the Symbiotic Economy of Speech and Writing\u201d<\/p>\n\n\n\n<p>Loss Peque\u00f1o Glazier, \u201c\u2018AD VALOREM CAGLI\u2019: Olson\u2019s Projective Moebius\u201d<\/p>\n\n\n\n<p>Dean Taciuch, \u201cOlson\u2019s \u2018Projective Verse\u2019 and Anti-Intellectualism\u201d<\/p>\n\n\n\n<p>Panel 18D: Robert Lowell II<\/p>\n\n\n\n<p>Chair: Tony Moore<\/p>\n\n\n\n<p>Von Underwood, \u201cClean Laundry, Caste, and Pop-Culture in Robert Lowell\u2019s \u2018Memories of West Street and Lepke\u2019\u201d<\/p>\n\n\n\n<p>Michael Thurston, \u201cRobert Lowell\u2019s Monumental Vision\u201d<\/p>\n\n\n\n<p>Nick Halpern, \u201cRobert Lowell: Prophecy and Domesticity\u201d<\/p>\n\n\n\n<p>Panel 18E: Ezra Pound III<\/p>\n\n\n\n<p>Chair: Ellen Keck Stauder<\/p>\n\n\n\n<p>Demetres P. Tryphonopoulos, \u201c\u2018The Enormous Tragedy of the Dream\u2019: The Later Cantos in Light of Pound\u2019s Correspondence with Olivia Rossetti Agresti\u201d<\/p>\n\n\n\n<p>Tony Tremblay, \u201cEzra Pound and Prince Boris de Rachewiltz: Their Correspondence, 1953-58\u201d<\/p>\n\n\n\n<p>Miranda B. Hickman, \u201c\u2018To Facilitate the Traffic\u2019 (or, \u2018DAMN Deluxe Editions\u2019): Ezra Pound\u2019s \u2018Descent\u2019 into Trade Editions\u201d<\/p>\n\n\n\n<p>Panel 18F: Gwendolyn Brooks<\/p>\n\n\n\n<p>Chair: Robin A. Morris<\/p>\n\n\n\n<p>Jenny Goodman, \u201cGwendolyn Brooks\u2019s&nbsp;<em>Annie Allen<\/em>&nbsp;and Postwar Constructions of the American Epic Tradition\u201d<\/p>\n\n\n\n<p>Susan Gilmore, \u201c\u2018We cut our poems out of air\u2019: Gwendolyn Brooks in the Fifties\u201d<\/p>\n\n\n\n<p>William T. Lawlor, \u201cGwendolyn Brooks as a Poet of the Fifties\u201d<\/p>\n\n\n\n<p>Panel 18G: Elizabeth Bishop and Others<\/p>\n\n\n\n<p>Chair: Meg Schoerke<\/p>\n\n\n\n<p>Camille Roman, \u201cWriting Against the Cold War: Elizabeth Bishop and Sylvia Plath\u201d<\/p>\n\n\n\n<p>James McCorkle, \u201cJohn Ashbery and Elizabeth Bishop and the Lyric Temperament\u201d<\/p>\n\n\n\n<p>Kim Vaeth, \u201cRevealing and Concealing: Elizabeth Bishop\u2019s Use of Form\u201d<\/p>\n\n\n\n<p>Panel 18H: Influences<\/p>\n\n\n\n<p>Chair: Virginia Nees-Hatlen<\/p>\n\n\n\n<p>Mary Adams, \u201cMonstrous Seers: Poetic Progeny of Frankenstein in the 1950s\u201d<\/p>\n\n\n\n<p>Rebecca Hurst, \u201cTheodore Roethke\u2019s Oedipal Rivalry with T.S. Eliot\u201d<\/p>\n\n\n\n<p>April D. Fallon, \u201c\u2018A Chaos of Sensations\u2019: The Nietzschean Influence from High Modernsim to Ginsberg and Plath\u201d<\/p>\n\n\n\n<p><strong>Session #19, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Armand Schwerner<\/p>\n\n\n\n<p>Jerome Rothenberg, \u201cPoetry in the 1950s: A Global Awakening\u201d<\/p>\n\n\n\n<p><strong>Session #20, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Louis Martz, \u201cWatching the Fifties: A Reviewer\u2019s Retrospect\u201d<\/p>\n\n\n\n<p><strong>Session #21, Group Reading<\/strong><\/p>\n\n\n\n<p>Chair: Kathleen Lignell<\/p>\n\n\n\n<p>Norman Finkelstein, Benjamin Friedlander, Hank Lazar, Aldon L. Nielsen, Geoffrey O\u2019Brien, Bob Perelman, Joan Retallack, Mark Scroggins, Craig Watson, Barrett Watten, Henry Weinfield<\/p>\n\n\n\n<p>SATURDAY, JUNE 22<\/p>\n\n\n\n<p><strong>Session #22, Panels<\/strong><\/p>\n\n\n\n<p>Panel 22A: William Carlos Williams and Others<\/p>\n\n\n\n<p>Chair: Dean Taciuch<\/p>\n\n\n\n<p>Sergio Rizzo, \u201cAllen Ginsberg in&nbsp;<em>Paterson<\/em>: A Study of Poetic Paternity and Social Displacement\u201d<\/p>\n\n\n\n<p>Steve Miles, \u201cThe Thing In Itself: Approaches of William Carlos Williams and Gertrude Stein\u201d<\/p>\n\n\n\n<p>Christopher MacGowan, \u201cWilliams and Auden in the 1950s\u201d<\/p>\n\n\n\n<p>Panel 22B: Adrienne Rich<\/p>\n\n\n\n<p>Chair: Albert Gelpi<\/p>\n\n\n\n<p>Jonathan Gill, \u201cRooted at the Split: Adrienne Rich and Judaism\u201d<\/p>\n\n\n\n<p>Sylvia Henneberg, \u201cWriting Like a Radical: Political Awareness in Adrienne Rich\u2019s Early Poetry\u201d<\/p>\n\n\n\n<p>Jeannine Johnson, \u201cAdrienne Rich\u2019s Autocritography of the 1950s\u201d<\/p>\n\n\n\n<p>Panel 22C: John Ashbery<\/p>\n\n\n\n<p>Chair: Virginia Nees-Hatlen<\/p>\n\n\n\n<p>Jeffrey Gray, \u201cMaps without Territories: John Ashbery\u2019s Travel Agency\u201d<\/p>\n\n\n\n<p>Thomas Lisk, \u201cToward a John Ashbery Grammar\u201d<\/p>\n\n\n\n<p>Bruce Campbell, \u201c\u2018A Torn Page with a Passionate Oasis\u2019: John Ashbery\u2019s&nbsp;<em>The Tennis Court Oath<\/em>\u201d<\/p>\n\n\n\n<p>Panel 22D: Lorine Niedecker<\/p>\n\n\n\n<p>Chair: Jeffrey Peterson<\/p>\n\n\n\n<p>Jenny Penberthy, \u201cBeyond the Pale: Lorine Niedecker\u2019s FOUR PAUL Poems\u201d<\/p>\n\n\n\n<p>Glenna Breslin, \u201cLorine Niedecker and \u00c6neas McAllister\u201d<\/p>\n\n\n\n<p>Susan E. Dunn, \u201c\u2018In the great snowfall\u2026\u2019\u201d Lorine Niedecker\u2019s Cold War\u201d<\/p>\n\n\n\n<p>Panel 22E: Words and Things<\/p>\n\n\n\n<p>Chair: Sylvester Pollet<\/p>\n\n\n\n<p>Andrew Klobucar, \u201cThe Kinetics of the Thing: From Ideology to Ecology in Projective Verse\u201d<\/p>\n\n\n\n<p>Kenneth Sherwood, \u201cFor the Common: A Poetics of Locating \u2018Particulars\u2019 in a Generalizing Time\u201d<\/p>\n\n\n\n<p>Bob Perelman, \u201cTeaching Transcendence: The Poetry and Politics of Charles Olson and Adrienne Rich\u201d<\/p>\n\n\n\n<p>Panel 22F: Bob Kaufman and Langston Hughes<\/p>\n\n\n\n<p>Chair: Aldon L. Nielsen<\/p>\n\n\n\n<p>Maria Damon, \u201cOther Beats: Bob Kaufman\u2019s Bagel Shop Jazz\u201d<\/p>\n\n\n\n<p>John Millett, \u201cTowards a \u2018Projective\u2019 Community: Musical Conventions and Langston Hughes\u2019s Blues and Jazz Poems\u201d<\/p>\n\n\n\n<p>Joe Lockard, \u201cLangston Hughes and the Modernism Color Line\u201d<\/p>\n\n\n\n<p>Panel 22G: Edwin Rolfe and Thomas McGrath<\/p>\n\n\n\n<p>Chair: Joshua Weiner<\/p>\n\n\n\n<p>Walter Kalaidjian, \u201c\u2018Deeds Were Their Last Words\u2019: Edwin Rolfe\u2019s Poetry in the 1950s\u201d<\/p>\n\n\n\n<p>Bill Stobb, \u201cKeeping \u2018The Winter Count\u2019: Responsible Memory in the Poetry of Thomas McGrath\u201d<\/p>\n\n\n\n<p>David Blake, \u201cExiled from the Republic: Thomas McGrath in Joseph McCarthy\u2019s America\u201d<\/p>\n\n\n\n<p>Panel 22H: Soundings<\/p>\n\n\n\n<p>Chair: Colleen J. Hamilton<\/p>\n\n\n\n<p>Paris De Soto, \u201cSelf-Affirmation or Aggrandizement? \u2018Loudness\u2019 in Postmodern American Poetry\u201d<\/p>\n\n\n\n<p>Chris Funkhouser, \u201cMultimedia Effects: American Poetry Layered Since Black Mountain\u201d<\/p>\n\n\n\n<p>Joseph Duemer, \u201cThe Search for an Absolute Rhythm\u201d<\/p>\n\n\n\n<p><strong>Session #23, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Ann Charters<\/p>\n\n\n\n<p>Alicia Ostriker, \u201c<em>Howl<\/em>&nbsp;Revisited: Allen Ginsberg and Prophetic Lamentation\u201d<\/p>\n\n\n\n<p><strong>Session #24, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Harvey Kail<\/p>\n\n\n\n<p>Ann Charters, \u201cEncounters Across a Continuum: Charles Olson\/Ann Charters\/Herman Melville\u201d<\/p>\n\n\n\n<p><strong>Session #25, Reading: Louis Simpson<\/strong><\/p>\n\n\n\n<p>Chair: Steven Schneider<\/p>\n\n\n\n<p><strong>Session #26, Panels<\/strong><\/p>\n\n\n\n<p>Panel 26A: A Sense of Place<\/p>\n\n\n\n<p>Chair: Elisabeth Joyce<\/p>\n\n\n\n<p>Timothy Gray, \u201cTwo Versions of the Pastoral in Cold War America: The Construction of the New York and San Francisco Poetry Communities as Cultural Havens\u201d<\/p>\n\n\n\n<p>Abie Hajitarkhani, \u201cBeats on the Pro\u201d<\/p>\n\n\n\n<p>Bernard Quetchenbach, \u201cThe Search for Community in the Work of Gary Snyder and Wendell Berry\u201d<\/p>\n\n\n\n<p>Panel 26B: Louis Zukofsky<\/p>\n\n\n\n<p>Chair: Mark Scroggins<\/p>\n\n\n\n<p>Colleen J. Hamilton, \u201c\u2018The sound is a mollycoddle\u2019s\u2019: Sound and the Body of the Text in the Zukofskys\u2019s&nbsp;<em>Catullus (Gai Valeri Catulli Veronensis Liber)<\/em>\u201d<\/p>\n\n\n\n<p>William E. Grim, \u201cZukofsky\u2019s \u2018A-12\u2019: The Faust of the Fifties\u201d<\/p>\n\n\n\n<p>Luke Carson, \u201c\u2018Sir, I am a tourist!\u2019: Zukofsky and Adams in Rome\u201d<\/p>\n\n\n\n<p>Panel 26C: Ezra Pound IV<\/p>\n\n\n\n<p>Chair: Charles Altieri<\/p>\n\n\n\n<p>Alec Marsh, \u201cThe Sign of the Four in Pound\u2019s&nbsp;<em>Rock-Drill<\/em>\u201d<\/p>\n\n\n\n<p>Diane A. Reid, \u201c\u2018Honey, Barley, and Blood\u2019: Re-Examining the Role of Archaic Ritual in&nbsp;<em>The Cantos of Ezra Pound<\/em>\u201d<\/p>\n\n\n\n<p>Ellen Keck Stauder, \u201c\u2018Crystal waves weaving together\u2019: Visual Notation and the Phrasal Music of the&nbsp;<em>Rock-Drill Cantos<\/em>\u201d<\/p>\n\n\n\n<p>Panel 26D: Marginalities<\/p>\n\n\n\n<p>Chair: Libbie Rifkin<\/p>\n\n\n\n<p>Virginia M. Koudis, \u201cAnthology Omissions: Rukeyser, Brooks, Bishop\u201d<\/p>\n\n\n\n<p>Gary Roberts, \u201cDisingenuous, Intrigued, Inviting More: The Limits of Precedent Anthologies\u201d<\/p>\n\n\n\n<p>Piotr Parlej, \u201cThe Naked Speech: Burroughs and the Others\u201d<\/p>\n\n\n\n<p>Panel 26E: Allen Ginsberg<\/p>\n\n\n\n<p>Chair: Alicia Ostriker<\/p>\n\n\n\n<p>John H. Lardas, \u201cAmerica When Will Your Cowboys Read Spengler? Allen Ginsberg\u2019s Response to Oswald Spengler\u2019s&nbsp;<em>The Decline of the West<\/em>\u201d<\/p>\n\n\n\n<p>James Kelley, \u201cContradictions of Desire: Ginsberg, the Critics, and the Whitman \u2018Problem\u2019 of the 1950s\u201d<\/p>\n\n\n\n<p>Panel 26F: The Charles Olson Connection<\/p>\n\n\n\n<p>Chair: Joseph Conte<\/p>\n\n\n\n<p>Sharon Thesen, \u201cDrafts and Responses: Some Poems and Letters of Charles Olson and Frances Boldereff\u201d<\/p>\n\n\n\n<p>Trent Keough, \u201cCharles Olson and Canadian Literature: The French Connection\u201d<\/p>\n\n\n\n<p>Trevor Code, \u201cThe Theater of Poetry: The Analogue of Theatricality in the Theory and Poetry of Williams and Olson\u201d<\/p>\n\n\n\n<p>Panel 26G: \u201cThe Beat Games\u201d: A Multimedia Presentation<\/p>\n\n\n\n<p>Presenter: Tom Lavazzi<\/p>\n\n\n\n<p>Panel 26H: William Bronk<\/p>\n\n\n\n<p>Chair: Burt Kimmelman<\/p>\n\n\n\n<p>David Clippinger, \u201cThe Mind\u2019s Landscape: Accumulating Position in the Poetry of William Bronk and Charles Olson\u201d<\/p>\n\n\n\n<p>Don Prues, \u201cWe Always Miss It: Bronk, Frost, and the Reality of the Undefined\u201d<\/p>\n\n\n\n<p>Ed Foster, \u201cMoonscapes in Spicer and Bronk: Poetry Doesn\u2019t Reflect\u201d<\/p>\n\n\n\n<p>Respondent: Henry Weinfield<\/p>\n\n\n\n<p><strong>Session #27, Panels<\/strong><\/p>\n\n\n\n<p>Panel 27A: William Bronk Reading<\/p>\n\n\n\n<p><em>Videotape prepared for this conference<\/em><\/p>\n\n\n\n<p>Chair: Henry Weinfield and Stephen A. Fredman<\/p>\n\n\n\n<p>Panel 27B: John Cage and Jackson Mac Low I<\/p>\n\n\n\n<p>Chair: Armand Schwerner<\/p>\n\n\n\n<p>Joan Retallack, \u201c____________:____________\u201d<\/p>\n\n\n\n<p>Charles A. Baldwin, \u201c\u2018letting in\u2019: Jackson Mac Low\u2019s Systemic Chance\u201d<\/p>\n\n\n\n<p>Joel Kuszai, \u201cJackson Mac Low in the 1950s\u201d<\/p>\n\n\n\n<p>Panel 27C: Barbara Guest<\/p>\n\n\n\n<p>Chair: Rachel Blau DuPlessis<\/p>\n\n\n\n<p>Linda A. Kinnahan, \u201cWomen and Experimental Poetics: Barbara Guest and Kathleen Fraser\u201d<\/p>\n\n\n\n<p>Lynn Keller, \u201cBarbara Guest\u2019s Feminine Mystique\u201d<\/p>\n\n\n\n<p>Sara Lundquist, \u201c\u2018The Imagination at its Turning\u2019: Barbara Guest\u2019s Ekphrastic Poems from the 1950s\u201d<\/p>\n\n\n\n<p>Panel 27D: Kenneth Rexroth<\/p>\n\n\n\n<p>Chair: George Hart<\/p>\n\n\n\n<p>Richard Blevins, \u201cRexroth\u2019s Signature, or the Romantic, versus Creeley\u2019s Epistemology, or the Postmodern\u201d<\/p>\n\n\n\n<p>George Hart, \u201cIn Defense of the Subject: Rexroth\u2019s Argument with the \u2018Corn Belt Metaphysicals\u2019 and the Postromantic Lyric\u201d<\/p>\n\n\n\n<p>Rachelle K. Lerner, \u201cCreative Crossfires: Kenneth Rexroth and Some Third Generation American Poets\u201d<\/p>\n\n\n\n<p>Panel 27E:&nbsp;<em>The New Poets of England and America<\/em>&nbsp;Revisited<\/p>\n\n\n\n<p>Chair: Camille Roman<\/p>\n\n\n\n<p>Colin A. Clarke, \u201cIn the Ward: The Poetry of Confinement in the 1950s\u201d<\/p>\n\n\n\n<p>Jane Hedley, \u201c\u2018I made you to find me\u2019: Authority, Experience, and the Gender of Poethood\u201d<\/p>\n\n\n\n<p>Elizabeth Joyce, \u201cSelf-Portraits of the Decade: Poetic and Psychoanalytic\u201d<\/p>\n\n\n\n<p>Panel 27G: Jack Kerouac<\/p>\n\n\n\n<p>Chair: Albert Gelpi<\/p>\n\n\n\n<p>Nancy Grace, \u201cBlowing Deep: The Lyric Roots of Jack Kerouac\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Ronna C. Johnson, \u201cUnbordering Form: Beat Dissolutions of Genre in Jack Kerouac\u201d<\/p>\n\n\n\n<p>Panel 27H: John Montague, Kenneth Patchen, and Robert Lowell<\/p>\n\n\n\n<p>Chair: Laura Cowan<\/p>\n\n\n\n<p>George Layng, \u201cThe New American Poetry from Ireland: John Montague and&nbsp;<em>The Rough Field<\/em>\u201d<\/p>\n\n\n\n<p>Mark Dunphy, \u201cKenneth Patchen\u2019s Cacademic Heroics\u201d<\/p>\n\n\n\n<p>Elizabeth Gregory, \u201c\u2018Confession\u2019 in the Poetry of Robert Lowell\u201d<\/p>\n\n\n\n<p><strong>Session #28, Reading: Samuel Menashe<\/strong><\/p>\n\n\n\n<p>Chair: Barry Ahearn<\/p>\n\n\n\n<p><strong>Session #29, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Marjorie Perloff, \u201c1956: Re-Aligning the Things of This World\u201d<\/p>\n\n\n\n<p><strong>Session #30, Reading: Edward Dorn<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p><strong>Session #31, Reading: Theodore Enslin<\/strong><\/p>\n\n\n\n<p>Chair: Mark Nowak<\/p>\n\n\n\n<p>SUNDAY, JUNE 23<\/p>\n\n\n\n<p><strong>Session #32, Panels<\/strong><\/p>\n\n\n\n<p>Panel 32A: Ginsberg and Others<\/p>\n\n\n\n<p>Chair: Alicia Ostriker<\/p>\n\n\n\n<p>David Zucker, \u201cDugan\u2019s and Ginsberg\u2019s Anti-Poetry\u201d<\/p>\n\n\n\n<p>Andrew Rosen, \u201cAgainst the Monolith: Berryman, Lowell, and Ginsberg\u201d<\/p>\n\n\n\n<p>Lily Phillips, \u201cLegislating \u2018Howl\u2019: The International Dimension of the Censorship Trial\u201d<\/p>\n\n\n\n<p>Panel 32B: Marianne Moore, Robert Duncan, and Others<\/p>\n\n\n\n<p>Chair: Kathleen Lignell<\/p>\n\n\n\n<p>Heather White, \u201cMarianne Moore: Tones and Tactics\u201d<\/p>\n\n\n\n<p>Donna Hollenberg, \u201c\u2018First Permission\u2019: Robert Duncan\u2019s Poems for H.D.\u201d<\/p>\n\n\n\n<p>Steven Meyer, \u201cReading Gertrude Stein in the 1950s: Robert Duncan, John Ashbery, James Merrill\u201d<\/p>\n\n\n\n<p>Panel 32C: Gary Snyder<\/p>\n\n\n\n<p>Chair: Bernard Quetchenbach<\/p>\n\n\n\n<p>Louis H. Palmer III, \u201cThe Labor of Autobiography: Gary Synder\u2019s Political Turn\u201d<\/p>\n\n\n\n<p>Richard Deming, \u201cThe Form that Vision Takes: Gary Synder\u2019s&nbsp;<em>Myths and Texts<\/em>\u201d<\/p>\n\n\n\n<p>Karen Bartlett, \u201c<em>Zenki&nbsp;<\/em>and&nbsp;<em>Muga<\/em>&nbsp;in the Poetics of Gary Synder and Lucien Stryk\u201d<\/p>\n\n\n\n<p>Panel 32D: John Cage and Jackson Mac Low II<\/p>\n\n\n\n<p>Chair: Joan Retallack<\/p>\n\n\n\n<p>Tony Brinkley, \u201cJohn Cage and the Politics of an Open Form\u201d<\/p>\n\n\n\n<p>Ming-Qian Ma, \u201cChance Operation, Mesostic Method, and the Cagean Aesthetic of Counter-Memory\u201d<\/p>\n\n\n\n<p>William R. Howe, \u201cWhat\u2019s So Great 91¸£Àû Intentionality: or The Poetry of John Cage and Jackson Mac Low\u201d<\/p>\n\n\n\n<p>Panel 32E: The Fifties as Resource and Ancestor for Contemporary Poetics<\/p>\n\n\n\n<p>Chair: Linda A. Kinnahan<\/p>\n\n\n\n<p>Lynda Szabo, \u201c\u2018The Muses are little female fellows\u2019: Adrienne Rich, Lyn Hejinian, and Hannah Weiner\u201d<\/p>\n\n\n\n<p>Elizabeth Savage, \u201c\u2018Some Manuscripts and Versions\u2019: Susan Howe and Lorine Niedecker\u201d<\/p>\n\n\n\n<p>Ellen Smith, \u201c\u2018Truth or Dare\u2019 and the American Confessional: Offshoots from Lowell and Snodgrass\u201d<\/p>\n\n\n\n<p>Panel 32F: William Bronk, Samuel Menashe, and George Oppen<\/p>\n\n\n\n<p>Chair: Colleen J. Hamilton<\/p>\n\n\n\n<p>Barry Ahearn, \u201cIntroducing Samuel Menashe (Again)\u201d<\/p>\n\n\n\n<p>Burt Kimmelman, \u201cThe World(lessness) of George Oppen and William Bronk\u201d<\/p>\n\n\n\n<p><strong>Session #33, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Aldon L. Nielsen<\/p>\n\n\n\n<p>Lorenzo Thomas, \u201cAfrocentric Modernism in Melvin B. Tolson\u2019s&nbsp;<em>Libretto for the Republic of Liberia<\/em>\u201d<\/p>\n\n\n\n<p><strong>Session #34, Panels<\/strong><\/p>\n\n\n\n<p>Panel 34A: Jack Spicer, Frank O\u2019Hara, and Others<\/p>\n\n\n\n<p>Chair: Beverly Rubin-Dolrup<\/p>\n\n\n\n<p>Kevin Killian, \u201c\u2018Faggot Vomit\u2019: Jack Spicer versus \u2018the Maidens,\u2019 1957-58\u201d<\/p>\n\n\n\n<p>Scott Penney, \u201cCamp and the Sublime in Frank O\u2019Hara\u2019s \u2018Biotherm\u2019\u201d<\/p>\n\n\n\n<p>P. Michael Campbell, \u201cIrony or Hyper-Sincerity?: Homosexuality and Poetry in the 1950s\u201d<\/p>\n\n\n\n<p>Panel 34B: Robert Duncan and Charles Olson<\/p>\n\n\n\n<p>Chair: Richard Blevins<\/p>\n\n\n\n<p>Robert J. Bertholf, \u201cRobert Duncan\u2019s Version of Charles Olson\u2019s Vision\u201d<\/p>\n\n\n\n<p>Alex Irvine, \u201c\u2018We Can Be Precise\u2019: Charles Olson and the Language of Indeterminancy\u201d<\/p>\n\n\n\n<p>Libbie Rifkin, \u201c\u2018Go Contrary, Go Sing\u2019: Charles Olson\u2019s Amateur Poetics\u201d<\/p>\n\n\n\n<p>Panel 34C: The School of Boston II<\/p>\n\n\n\n<p>Chair: John Millett<\/p>\n\n\n\n<p>Joseph Torra, \u201cSchool of Boston 1950s\u201d<\/p>\n\n\n\n<p>Ed Foster, \u201cSteven Jonas, On the Edge of Time\u201d<\/p>\n\n\n\n<p>Susan Vanderborg, \u201cUnverting the Poet\u2019s Community: Jack Spicer in Boston\u201d<\/p>\n\n\n\n<p>Panel 34D: Jackson Mac Low Reading<\/p>\n\n\n\n<p><em>Videotape prepared for this conference<\/em><\/p>\n\n\n\n<p>Chair: Joan Retallack<\/p>\n\n\n\n<p>Panel 34E: Beats and Deadbeats<\/p>\n\n\n\n<p>Chair: Andrew Analore<\/p>\n\n\n\n<p>Terrell Crouch, \u201cThrilling the Trillings: Another Night at Columbia\u201d<\/p>\n\n\n\n<p>Michael Basinski, \u201cFLOWER, FIST AND BESTIAL WAIL: Charles Bukowski\u2019s First Poetics\u201d<\/p>\n\n\n\n<p>Matthew Sweney, \u201c<em>Pomes All Sizes<\/em>: Kerouac\u2019s Prosody\u201d<\/p>\n\n\n\n<p>Panel 34F: Wallace Stevens<\/p>\n\n\n\n<p>Chair: Jeannine Johnson<\/p>\n\n\n\n<p>Kenneth Rosen, \u201cWallace Stevens and the Pathos of Idealism\u201d<\/p>\n\n\n\n<p>Christian Moraru, \u201cEthical Vision and the Definition of Poetry in Wallace Stevens\u2019s Esthetique du Mal\u2019\u201d<\/p>\n\n\n\n<p>Panel 34G: Stanley Kunitz and Hayden Carruth<\/p>\n\n\n\n<p>Chair: Kathleen Lignell<\/p>\n\n\n\n<p>David Kellogg, \u201c\u2018Shapes of Things Interior to Time\u2019: Historicizing Stanely Kunitz\u2019s&nbsp;<em>Selected Poems<\/em>\u201d<\/p>\n\n\n\n<p>William J. Lavigne, \u201cUncertain Refuge: The Poetics of Hayden Carruth\u2019s \u2018The Asylum\u2019\u201d<\/p>\n\n\n\n<p><strong>Session #35, Plenary<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Panel Discussion with Poets of the 1950s Generation, including:<\/p>\n\n\n\n<p>Edward Dorn<\/p>\n\n\n\n<p>Theodore Enslin<\/p>\n\n\n\n<p>Samuel Menashe<\/p>\n\n\n\n<p>Jerome Rothenberg<\/p>\n\n\n\n<p>Armand Schwerner<\/p>\n<\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Program WEDNESDAY, JUNE 19 Session #1, Plenary Chair: Burton Hatlen M.L. Rosenthal, \u201cKarl Shapiro and the Rich Continuities of the Fifties\u201d Session #2, Panels Panel 2A: H.D. Chair: Cassandra Laity Crystal Anderson, \u201cLifting the Veil of Cytheraea: H.D.\u2019s Revisionist Modernism in&nbsp;Helen in Egypt\u201d Anita George, \u201cRe-Visions of Helen: Sappho Fr. 16 and H.D.\u2019s&nbsp;Helen in Egypt\u201d [&hellip;]<\/p>\n","protected":false},"author":2234,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-939","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>American Poetry in the 1950s - The Center for Poetry and Poetics - University of Maine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/umaine.edu\/poetry\/1950s-conference\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"American Poetry in the 1950s - The Center for Poetry and Poetics - University of Maine\" \/>\n<meta property=\"og:description\" content=\"Program WEDNESDAY, JUNE 19 Session #1, Plenary Chair: Burton Hatlen M.L. Rosenthal, \u201cKarl Shapiro and the Rich Continuities of the Fifties\u201d Session #2, Panels Panel 2A: H.D. 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