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"Creeley, Robert, 1926-2005 Criticism and interpretation."
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It is I: Robert Creeley's Deictic Subjectivity and the Sublime Self
Robert Creeley's mid-career poetry productively uses intentionally unspecific and therefore projective deixis in order to negatively present the sublimity inherent in some of the key ideas with which his work struggles—issues of time, place, knowability, and the self. Moreover, Jean-François Lyotard's theorizations around the immanence of the sublime, and on the “second self” in relation to the sublime, illuminate the ways in which Creeley uses projective deixis in order to suggest that subjectivity must be encountered as presentation, never as representation. Creeley's poetry, through its heavy reliance on deixis, entrenches and illustrates the immanent sublime at the heart of experience, while implicitly arguing that one must also treat subjectivity as unknown and unknowable.
Journal Article
Waiting for Asian Canada: Fred Wah's Transnational Aesthetics
[...]This Dendrite Map\" shows Wah newly understanding his own aesthetic as a possible answer to the formal questions presented by his father's and his own racialized experiences. [...]Wah's formal experimentation in Waiting for Saskatchewan o'ers a highly nuanced and complex theorizing of the Asian Canadian as a transnational, racialized category at the very moment of its emergence.
Journal Article
Robert Creeley in Transition 1967/1970: Changing Formats for the Public Poetry Reading
According to McCormack, the key benefit of these readings was their ability to render complex modern forms of poetry accessible and intimate, due to the authority of the poet/reader over the delivery of the work and the kind of \"emotional interaction\" that the public reading allows between poet and audience (29). [...]Creeley's appearance in Montreal was sandwiched between the last two performances in the series. [...]Layton casts Creeley as a craftsman in control of his materials, a poet invested in the composition of formally polished, enduring poems, an investment that characterized Layton's own poetic ethos. [...]even as the actions and effects I have just named are deployed and realized throughout Creeley's performance, there is also a discernible arc or architecture that informs the reading as a whole, suggesting that the message of anti-performance I have just described can be delivered in different registers and different tones of voice.
Journal Article
Poetry, Poetics and Social Discourses
[...]some critics have been engaged in a socio-poesis or a social philology, investigating how the social inflections and meanings emerge in poetry. The meaning of the rubric \"confessionalism\" for gay poet like Frank O'Hara or Alien Ginsberg in the Cold War era might have unexpected dimensions, in Anne Hartman's argument, as such a reception term is hardly neutral, when such confession had both political dimensions and dangers. Other topics for discussions within socio-poesis include audience relations, the nature and meanings of the publics constituted by the author, by the work, by the (possibly contradictory) terms offered for its reception by journalists, critics, students, readers. For some of this issue we are in the realm of nation-not only the United States of the Cold War period, but the United Kingdom as interestingly fis sioned, and Ireland as a place where social discourses and poetic texts have a long, rich intertwined history.
Journal Article