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Once I was told that Góngora was a poet who made clear things obscure and that I, on the contrary, was a poet who made obscure things clear, obvious, radiant.

These two concepts are not necessarily tangent. But this fact cannot serve to join together, as is customary, the concepts of the enigmatic and the obscure. It is true that our romantic and later our fin de-siècle poetry had no elements that could be considered enigmatic. I do not think that the contemplation of my poetry offers at present a greater difficulty than that offered by the contemplation of any other poetic prism. Make It True Meets Medusario (Current Neobarrocans) The neo-barroco equivalent would come from Vicente Huidobro, a forerunner to the Neo-Barrocans equal to Pound’s influence on the New Americans, and his assertion: “El adjetivo cuando no da vida mata.” (When the adjective does not give, life it kills). Adjectives and similes create distance from that source of energy and, like abstractions and generalizations, must be earned, Olson’s mentor Ezra Pound argued. The New Americans were interested in closing the distance between, as Olson put it, the energy that propelled the poem into being and the poem itself and used the phrase “high energy construct” to describe the projective poem. What is difficult is the surrender to the logic of the individual poem, or poet. Unfortunately, the training we usually get as poets, or as students of poetry, is the opposite, making the neo-baroque poem seem odd and difficult. (“The most plausible manner of true thought” indeed.) It too, is open. It’s my feeling that the mind, more accurately, works in this manner, so the neo-baroque approach allows one to close the distance in the moment of composition and with the reader/listener. The affinities are almost endless and the limited scope of even the most radical poets of the post-war generation is exposed. This paper posits that The New American Poetry, had it looked even slightly off the shore of North America, could have included the Neo-Barroco school of Latin American poetry. Of course culture must always be judged in proper context, including its era and the anthology has had a powerful impact on the poetry of the continent from which it came. As compared to the whiteness of academic verse of the time, the New American Poetry was radical and more diverse, but could be seen as quite inadequate in those aspects from a contemporary perspective.

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The word seminal is used in a traditional way, from the root: “of seed or semen … full of possibilities”, but here also because the work is dominated by men and the omission of poets like Diane di Prima and Joanne Kyger seems especially egregious now. It does not store any personal data.The New American Poetry anthology delineated “schools” of North American poetry which have become seminal: The Black Mountain School (Charles Olson, Robert Creeley, Denise Levertov), the New York School (John Ashbery, Barbara Guest, Frank O’Hara), the San Francisco Renaissance (Robert Duncan, Robin Blaser, Jack Spicer), and the Beats (Allen Ginsberg, Gary Snyder, Michael McClure). The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies.

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