‘The pictorial handwriting of his dreams’
Charles Olson, Susan Howe, Redell Olsen
in Contemporary Olson
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Susan Howe's early work is made in the bulky shadow of Charles Olson. There are many ways of linking Howe to Olson. One might discuss the relationship in terms of visual poetics. Monologic patriarchy is set against an open field; the feminine, dialogic energies of which, according to Howe, Olson was only partly able to recognise. Howe's essay on Call Me Ishmael repeats Freud's analogy between the psychic and the social, fanning out quickly into an indictment of an urge for mastery within American culture. Howe applies a similar technique in her reimagining of Olson, locating its dynamism not in the body or in breath, but in the juxtapositions of its 'spatial expressiveness'. At the beginning of the Minimaus series, Redell Olsen reproduces the map of Gloucester, Massachusetts used by Olson on the cover of the first volume of Maximus.

Editor: David Herd

Metrics

All Time Past Year Past 30 Days
Abstract Views 34 8 0
Full Text Views 25 7 0
PDF Downloads 14 4 0