Charles Olson (1910-70) believed that poetry exists in an 'open field' through which the poet transmits energy to the receptive reader. Olson's influence on the development of British and American poetry through his writing and teaching is immense. His work encompasses myth, history, scholarship and politics, grand theories and delight in the particular variousness of life, all marked by the curiosity and openness to experience that he asked of his readers. Olson grew up and returned to live in the seafaring town of Gloucester, Massachusetts, and it was from the life and language of its citizens that his poetry drew its strengths. "The Reader" includes extracts from the full range of Olson's poetry and prose, including letters, interviews and the full text of the key essay 'Projective Verse'. Ralph Maud, a colleague of Olson's from 1963-5 and the editor of Olson's letters, has supplied an introduction, supporting illustrations, notes and bibliography to this essential resource.

First published in 1947, this acknowledged classic of American literary criticism explores the influences--especially Shakespearean ones--on Melville's writing of "Moby-Dick." One of the first Melvilleans to advance what has since become known as the "theory of the two "Moby-Dicks,"" Olson argues that there were two versions of "Moby-Dick," and that Melville's reading "King Lear" for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: "the first book did not contain Ahab," writes Olson, and "it may not, except incidentally, have contained Moby-Dick." If literary critics and reviewers at the time responded with varying degrees of skepticism to the "theory of the two "Moby-Dick"s," it was the experimental style and organization of the book that generated the most controversy.

Charles Olson's insistence that the public value of any articulation is inseparable from the particulars of the time and place of its origins resulted in the proprioceptive methodology of his composition--in his speech and his writing, in both poetry and prose. Olson did not "lecture"--he "talked." His encyclopedic knowledge of the subjects that interested him engaged in a manner always as surprising to himself as to his listeners. This element of discovery was to him a true measure of what is authentic in language, and it exhibits itself most in the impromptu exchanges of which "Muthologos" is mainly composed. Olson once de?ned "Muthologos" as "what is said about what is said," which encompasses a breadth of discourse that would de?ne the near and far range of where the poet's mind went in a lifetime's intent to go places. In this new compilation of Charles Olson's transcribed lectures and interviews, we ?nally get all of what is preserved of a life of talk, allowing "Muthologos" to stand, along with "The Maximus Poems," "Collected Poems," "Collected Prose" and "Selected Letters" as one of the "standard texts" of this great poet's oeuvre.
Ralph Maud's second edition of "Muthologos," some thirty years after George Butterick's ?rst, adds several new items: "At Goddard College, April 1962"; a second Vancouver 1963 discussion, "Duende, Muse, and Angel"; a short addition to the "BBC Interview"; a second "On Black Mountain"; and a further hour of Olson's conversation with Herb Kenny. In addition, all the available tapes of these talks and interviews have been listened to again, and many of their previous transcription errors have been corrected. Textual notes to each piece identify these corrections, and also reveal the provenance of the tapes and the particular way in which each transcription was created.

First published in 1947, this acknowledged classic of American literary criticism explores the influences--especially Shakespearean ones--on Melville's writing of "Moby-Dick." One of the first Melvilleans to advance what has since become known as the "theory of the two "Moby-Dicks,"" Olson argues that there were two versions of "Moby-Dick," and that Melville's reading "King Lear" for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: "the first book did not contain Ahab," writes Olson, and "it may not, except incidentally, have contained Moby-Dick." If literary critics and reviewers at the time responded with varying degrees of skepticism to the "theory of the two "Moby-Dick"s," it was the experimental style and organization of the book that generated the most controversy.

First published in 1947, this acknowledged classic of American literary criticism explores the influences--especially Shakespearean ones--on Melville's writing of "Moby-Dick." One of the first Melvilleans to advance what has since become known as the "theory of the two "Moby-Dicks,"" Olson argues that there were two versions of "Moby-Dick," and that Melville's reading "King Lear" for the first time in between the first and second versions of the book had a profound impact on his conception of the saga: "the first book did not contain Ahab," writes Olson, and "it may not, except incidentally, have contained Moby-Dick." If literary critics and reviewers at the time responded with varying degrees of skepticism to the "theory of the two "Moby-Dick"s," it was the experimental style and organization of the book that generated the most controversy.

For Charles Olson, letters were not only a daily means of communication with friends but were at the same time a vehicle for exploratory thought. In fact, many of Olson's finest works, including "Projective Verse" and the "Maximus Poems, " were formulated as letters. Olson's letters are important to an understanding of his definition of the postmodern, and through the play of mind exhibited here we recognize him as one of the vital thinkers of the twentieth century.
In this volume, edited and annotated by Ralph Maud, we see Olson at the height of his powers and also at his most human. Nearly 200 letters, selected from a known 3,000, demonstrate the wide range of Olson's interests and the depth of his concern for the future. Maud includes letters to friends and loved ones, job and grant applications, letters of recommendation, and Black Mountain College business letters, as well as correspondence illuminating Olson's poetics. As we read through the letters, which span the years from 1931, when Olson was an undergraduate, to his death in 1970, a fascinating portrait of this complex poet and thinker emerges.

A seminal figure in post-World War II literature, Charles Olson (1910-1970) has helped define the postmodern sensibility. His poetry is marked by an almost limitless range of interest and extraordinary depth of feeling. Olson's themes are among the largest conceivable: empowering love, political responsibility, historical discovery and cultural reckoning, the wisdom of dreams and the transformation of consciousness--all carried in a voice both intimate and grand, American and timeless, impassioned and coolly demanding. Until recently, Olson's reputation as a major figure in American literature has rested primarily on his theoretical writings and his epic work, the "Maximus Poems," With "The Collected Poems" an even more impressive Olson emerges. This volume brings together all of Olson's work and extends the poetic accomplishment that influenced a generation.
Charles Olson was praised by his contemporaries and emulated by his successors. He was declared by William Carlos Williams to be "a major poet with a sweep of understanding of the world, a feeling for other men that staggers me." His indispensable essays, "Projective Verse" and "Human Universe," and his study of Melville, "Call Me Ishmael," remain as fresh today as when they were written.

Praised by his contemporaries and emulated by his successors, Charles Olson (1910-1970) was declared by William Carlos Williams to be "a major poet with a sweep of understanding of the world, a feeling for other men that staggers me." This complete edition brings together the three volumes of Olson's long poem (originally published in 1960, 1968, and 1975) in an authoritative version.

"I have assumed a great deal in the selection of the poems from such a large and various number, making them a discourse unavoidably my own as well as any Olson himself might have chosen to offer. I had finally no advice but the long held habit of our using one another, during his life, to act as a measure, a bearing, an unabashed response to what either might write or say."--Robert Creeley
A seminal figure in post-World War II literature, Charles Olson has helped define the postmodern sensibility. His poetry embraces themes of empowering love, political responsibility, the wisdom of dreams, the intellect as a unit of energy, the restoration of the archaic, and the transformation of consciousness--all carried in a voice both intimate and grand, American and timeless, impassioned and coolly demanding.
In this selection of some 70 poems, Robert Creeley has sought to present a personal reading of Charles Olson's decisive and inimitable work--"unequivocal instances of his genius"--over the many years of their friendship.