A Poet's Mind


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Robert Duncan (1919-1988), one of the major postwar American poets, was an adulated figure among his contemporaries, including Robert Creeley, Charles Olson, and Denise Levertov. Lawrence Ferlinghetti remarked that Duncan "had the best ear this side of Dante." His stature is increasingly recognized as comparable to that of Ezra Pound, William Carlos Williams, H.D., and Louis Zukofsky. Like his poetry, Duncan's conversation is generative and multi-directional, pushing out the boundaries of discourse. His recorded reflections are a means of discovery and exploration, and whether talking with a college student or a fellow poet, he was fully engaged and open to new thoughts as they emerged. The exchanges in this book are exciting and lively. His vast and wide-ranging knowledge offers readers an increased understanding of the interrelations of the arts, history, psychology, and science; those who would like to learn about Duncan's own life, his bravery in being an out gay man well before Stonewall, and his friendships with fellow writers, such as Charles Olson, Jack Spicer, and Kenneth Rexroth, will find this book richly rewarding. The six volumes of Duncan's collected writings are being issued by the University of California Press. The collected interviews are an indispensable companion to these books, providing an in-depth exposition of his poetics, which center on the belief that the poem is "a medium for the life of the spirit." In A Poet's Mind, he describes the genesis of some of his works, including that of books, essays, and individual poems, and also discusses gay love and life, along with the many diverse influences on his work. Ducan's fertile creative mind is also evident in these conversations: often coming back to Ezra Pound in these conversations, he gives one of the clearest expositions to be found anywhere on the scope and meaning of The Cantos. This volume also includes a number of photographs never before published.




The Thirteen-book Prelude


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The Poetic Mind


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The Poet's Voice in the Making of Mind


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How did the human mind evolve and how does it emerge, again and again, in individual lives? In The Poet’s Voice in the Making of Mind, Russell Meares presents a fascinating inquiry into the origin of mind. He proposes that the way in which mind, or self, evolved, may resemble the way it emerges in childhood play and that a poetic, analogical style of thought is a biological necessity, essential to bringing to fruition the achievement of the human mind. Taking a fresh look at the language used in psychotherapy, he shows how language, and conversation in particular, is central to the development and maintenance of self. His theory incorporates the ideas from William James, Hughlings, Jackson, Janet, Hobson, Gerald Edelman, Wolf Singer, Vygotsky and others. It is illuminated by extracts from literary artists such as Wallace Stevens, W.S. Merwin, Virginia Woolf, Joseph Conrad and Shakespeare. Encompassing psychotherapy; psychoanalysis; evolution; child development; literary criticism; philosophy; studies of mind and consciousness, The Poet’s Voice in the Making of Mind is an engaging, ground-breaking and thought-provoking work that will appeal to psychotherapists and psychoanalysts, as well as anyone interested in the emergence of mind and self.




The English Poetic Mind


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After an opening chapter that examines the nature of poetry itself and analyzes its effect upon the reader, the author, in The English Poetic Mind, moves on to his main purpose, which is to try to reveal the source of the drive to creation in three of the greatest English poets: William Shakespeare, John Milton, and William Wordsworth. In each he identifies a particular kind of crisis that is the origin of the poetic impulse. In the light of these discoveries he addresses the achievements of several lesser poets and concludes with a chapter that, in a more general way, tentatively offers a vision of the paths poetry might take in the future.




The Mind of a Poet


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Poems of William Wordsworth


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Reason and Beauty in the Poetic Mind


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REASON AND BEAUTY IN THE POETIC MIND REASON AND BEAUTY IN THE POETIC MIND BY CHARLES WILLIAMS OXFORD AT THE CLARENDON 1933 PREFACE THE four corners of this book lie at the following points i the use of the word Reason by Words worth in the Prelude ii the abandonment of the in tellect by Keats in the Nightingale and the Urn iii the emphasis laid on Reason by Milton in Paradise Lost iv the schism in Reason studied by Shake speare in the tragedies. Add to these the four middle points of i the definition of Beauty by Marlowe in Tamburlaine ii the imagination jof it by Keats in the same two odes iii the identification of it with Reason in Paradise Lost iv the humanization of it in the women of Troilus and Othello and the later plays and the ground plan will be sufficiently marked. The studies are meant as literary, and not as either philosophical or aesthetic criticism. They do not attempt to consider what the poets ought to do, only what they have done, and that from the special point of v




A Certain Clarity


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A selection of poems from the celebrated poet and lawyer Drawing from his first book, Shouting at No One, from 1983, and continuing through to his most recent, So Where Are We?, from 2017, A Certain Clarity provides a generous selection of Lawrence Joseph’s "poetry of great dignity, grace, and unrelenting persuasiveness” (John Ashbery), each poem “an inspired, made thing by a poet-advocate who has honed a timely song within an urgent testimony that embraces the complex density of truth” (Yusef Komunyakaa). Joseph’s poems constitute one of the most essential and visionary bodies of work in contemporary American poetry. No other American poet covers the territory Joseph does. His ever-new interactions of thoughts, voices, and languages—influenced by his Lebanese and Syrian Catholic heritage, his professional life as a lawyer and legal scholar, and the economies of the world of working-class labor from which he comes—bear witness, on multilayered spatial and temporal planes, to the velocities of global and historical change, and to power structures embodied in endless wars, unleashed capital, racism, and ecological destruction, presenting an ongoing chronicle of what it means to write poetry in the turbulent times in which we live. But also integral to Joseph’s poetry is a sensual intimacy, passionately driven by an acute awareness of a deeper order in which beauty, love, and justice are indistinguishable. Meticulously formed, emotionally fierce, intellectually challenging, Joseph’s poems press back against the high-stakes pressures of our time with a moral and aesthetic intensity not easily forgotten.