Projective Verse Essay

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Charles Olson’s influential manifesto, “Projective Verse,” was first published as a pamphlet, and then was quoted extensively in William Carlos Williams’ Autobiography (1951). The essay introduces his ideas of “composition by field” through projective or open verse, which is a continuation of the ideas of poets Ezra Pound, who asked poets to “compose in the sequence of the musical phrase, not in sequence of a metronome,” and William Carlos Williams, who proposed in 1948 that a poem be approached as a “field of action.” Olson’s projective verse focuses on “certain laws and possibilities of the breath, of the breathing of the man who writes as well as of his listenings.” Composition by field opposes the traditional method of poetic composition based on received form and measure. Olson sees the challenge of the transference of poetic energy from source to poem to reader, and the way in which that energy shifts at each juncture, as particularly of concern to poets who engage in composition by field, because the poet is no longer relying on a received structure as a propulsive force. Harnessing poet Robert Creeley’s assertion that “form is never more than an extension of content” and Edward Dahlberg’s belief that “one perception must immediately and directly lead to a further perception,” Olson argues that the breath should be a poet’s central concern, rather than rhyme, meter, and sense. To listen closely to the breath, Olson states, “is to engage speech where it is least careless—and least logical.” The syllable and the line are the two units led by, respectively, the ear and the breath: “the HEAD, by way of the EAR, to the SYLLABLE the HEART, by way of the BREATH, to the LINE” Olson argues against a lazy reliance on simile and description, which can drain a poem of energy, and proposes that syntax be shaped by sound rather than sense, with nuances of

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