George Oppen's standing in American poetry has never been greater.
Yet despite the mass of critical writing since his death in 1984,
the essential basis of the verse-the words on the page and their
acoustics-has rarely been the subject of discussion. In this book
therefore Richard Swigg breaks away from the general trend of Oppen
studies studies and offers the reader a direct way into the visual
and auditory dimension of the poems. Ranging across the entire span
of the work, from the 1930s to the 1970s, he traces for the first
time the full extent of Oppen's engagement with the concrete world
and his important poetic relationships with Charles Reznikoff,
Denise Levertov, Charles Tomlinson and others.
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