Word: poetics
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Dates: during 1960-1969
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...also belonged to the St. Louis Poets Workshop, a group of young poets who believed, even as young poets still do (see BOOKS), that they were part of a poetic revival. Williams' poetry, then and later, was lyrical, evocative and intensely personal...
Williams worked at that time in a kind of basement garret with Clark Mills, a fellow poet. Mills introduced him to a one-foot shelf of influences: Rimbaud, Rilke, Lorca, Chekhov, Melville, D. H. Lawrence and Hart Crane, who became Williams' poetic idol. Tom introduced Mills to Rose. As Mills recalls it, Mrs. Williams "commanded Tom to bring home 'gentleman callers,' " as Tom Wingfield does in Menagerie; "Williams' poor sister was dressed in old-fashioned Southern costumes. She was very lovely. She never talked at all. Mrs. Williams never stopped talking-empty verbiage about their status...
...quality is lacking, quantity is not. In the 16 years since World War II, more poems have been composed in the U.S.-last year more than 200,000 were submitted for publication-than were written in ten centuries between Beowulf and the Bomb; and in Britain, poetic production has approximately doubled in a decade. What's more, sales of poetry on records are tuned to unprecedented volume. U.S. poetry buffs have bought 50,000 platters of Robert Frost reading Robert Frost, 400,000 of the late Dylan Thomas reading Dylan Thomas. And poetry readings have been box office...
...Revolution. Along with poetry's popularity, and adding to it, has come a striking change in poetry's style and content, a vigorous evolution that may yet become the second great poetic revolution of the century. The first revolution, which rolled over the language during the decade beginning in 1910, was an American revolution, a revolt of the vernacular launched by Ezra Pound, T. S. Eliot and Robert Frost-all of them still alive and writing, but not writing much. In the early '30s, the heirs of the revolution, led by Britain's W. H. Auden...
...news for the first time since the '20s. ("The Beats have taken poetry out of the academic study," says one critic, "and put it in the subway restroom.") And the success of the uncouth has encouraged the couth, who are slowly but inevitably developing a new poetic tone, a tone less clever than Auden, more direct than Eliot, more worldly and less personal than Thomas, a conversational but careful tone in which important things can be simply said...