417:, whose fugal intricacies became one of the formal models for the poem. The first six movements are predominately autobiographical but all directly or indirectly considering the question of the proper form for the poem at hand—"A"-6 ends by posing the question: "With all this material / To what distinction—." The preliminary answer is "A"-7, often taken to be Zukofsky's first distinctly individual poem that looks forward to much that will follow. This movement is a set of seven sonnets which focus on sawhorses marking off an area of a street under repair, which are imaginatively animated, a dynamic image of the poem itself as a construction site simultaneously constructed and deconstructed. In a number of later movements, Zukofsky would similarly adopt strict traditional forms combined with unconventional materials to create highly compacted poems: "A"-9 takes the intricate form of Guido Cavalcanti's canzone, "Donna me prega," using content mostly adapted from
631:, although he still had two further movement to write. "A"-22 & -23 were conceived on an epic scale: each 1000 lines, with an 800-line main body framed by 100-line segments, the main bodies each compressed radically reworked materials from history and literature respectively spanning 6000 years in chronological order. In this late work the soundscape tends to predominate over thematic or narrative orders, or as he once put it, "not to fathom time but literally to sound it as on an instrument."
33:
217:
of personality: quiet and withdrawn, Zukofsky no doubt seemed less than promising teaching material. And the unwritten code of anti-Semitism that reigned in the
English department--and that would not be broken until Lionel Trilling was hired in 1939--almost certainly told against him. At any rate, Zukofsky's formal schooling ended in 1924, and he would make no attempt to continue to the doctorate."
431:, is "'Mantis'" which adopts the form of a sestina by Dante to create a political lyric, to which Zukofsky added "An Interpretation" reflecting on the question of poetic form relevant to contemporary concerns. In counterpoint to these highly formal and compacted movements, there are sprawling free-verse movements, notably "A"-8, whose depiction of contemporary world interviews vignettes of the
409:—he never referred to it without the quotation marks—which he began in 1928 and would work on intermittently for most of the rest of his life, finally completing the poem in 1974. He predetermined that the work would have 24 sections, which he called movements, but both formally and thematically he allowed the poem to develop as the occasion dictated. "A"-1 opens at a performance of
654:(1958), a travelogue of the Zukofskys' 1957 trip to Europe, written in a more relaxed and accessible manner than is typical of his poetry. As his reputation rose, Zukofsky collected short poetry in two volumes (1965, 1966) was published by Norton, his first books with a commercial publisher. Soon after his collected critical essay were gathered into
329:, examines his cultural identity and the question of assimilation as the son of immigrant Jews, and concludes by asserting his poetic independence from the claims of family and his Jewish heritage, opting instead for a more cosmopolitan poetic identity. Pound remained an important supporter of Zukofsky in the following years, famously dedicating
666:, a sequence of eighty-one short poems (8 lines of five words each), highly compressed reworkings of botanical and literary materials. Although planned for completion for his 80th birthday, he as usual worked ahead of schedule and finished the sequence in January 1978, already planning a follow-up sequence on trees to be entitled
367:, to allow Zukofsky to edit an issue showcasing younger poets, resulting in the famous "Objectivists" issue (Feb. 1931), which included Zukofsky's statement "Sincerity and Objectification." Although all the poets, including Zukofsky, denied any intention of forming a distinct poetic movement, a core group became identified as the
244:(1943–2017), was a child prodigy violinist and went on to become a prominent avant-garde violinist and conductor. During World War II, Zukofsky edited technical manuals at a number of electronics companies working in support of the war effort. In 1947, he took a job as an instructor in the English Department of the
555:, arguing for the priority of the sensuous eye over the abstract mind. This work was as much a statement on poetics as a exegesis of Shakespeare presented in the unorthodox critical manner Zukofsky preferred, marshalling and collaging large numbers of quotations from numerous texts. When finally published in 1964,
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are characterized by the adoption of a diversity of flexible forms capable of absorbing great variation of materials, from the conversational, to newspapers and media, to book reading, and the treatment of these materials ranges from quotation to radical reduction to creative transmutation, including
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or an eventual tenure-track academic appointment; according to a retrospective 2002 analysis by Mark
Scroggins, "Then as now, writing one's thesis on a recently dead and as yet uncanonized figure (Adams had died only six years before) was not the path to academic preferment might have been a matter
613:. In contrast to the usually long movements, "A"-16 is just four words scattered across a single page, while "A"-17 is a homage to William Carlos Williams on his death in 1963 in the form of a catalogue of quotations recording the two poets' friendship. "A"-21 is a complete and quirky translation of
534:
s development would be determined by historical and personal changes over the time of the poem's composition. This was affirmed with "A"-11, which mimics the form of a ballata by
Cavalcanti but directly addresses his wife and son on the topic of mortality. From this point the poet's immediate family
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speaking immigrants from
Lithuania, then part of the Russian Empire. His father Pinchos (ca. 1860–1950) immigrated to the United States in 1898, and was followed in 1903 by his wife, Chana (1862–1927), and their three children. Pinchos worked as a pants-presser and night watchman for many decades in
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by Corman's Origin Press. Along with the other "Objectivists", from around 1960 Zukofsky was in considerable demand among these younger poets, and consequently was able to publish numerous volumes over the last decade and half of his life, a period when he wrote prolifically and inventively.
335:(1938) "To Louis Zukofsky and Basil Bunting strugglers in the desert." Their relationship over the course of the 1930s became severely strained because of Pound's increasingly strident fascism and anti-semitism, yet Zukofsky always maintained the highest regard for Pound's poetic abilities.
530:. The distinct concerns of the two-halves of "A"-9 mark a decisive shift of emphasis from the political and social to the more personal and philosophical, but without repudiating the earlier focus. Avoiding pre-determined narratives or themes, Zukofsky always intended that
508:, primarily juxtaposing sample poems or excerpts with little commentary and asking to student to draw their own conclusions. Although initially this text only saw the light of day when self-published in 1948, it has since been reprinted three times.
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will usually play a major role while the poem becomes more expansive in its concerns. This movement was shortly followed up with "A"-12, a sprawling 135-page collage interweaving the personal, current events and philosophy, primarily represented by
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627:'s "Hapsichord Pieces" she arranged four voices consisting entirely of quotations from across Zukofsky's writings, suggesting one possible version of a single total work. Zukofsky promptly decided this would be the final movement of
212:, and throughout the 1930s he aligned himself with Marxism, although he never joined the Communist Party. Despite his academic success, Zukofsky was not offered an instructorship that may have facilitated the completion of a
310:
As a student
Zukofsky wrote prolifically in imitation of many styles, both traditional and free verse. However, his first distinctive work was the long poem, "Poem beginning 'The,'" composed in 1926 and published by
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and Henry Adams on
American history. Much of Zukofsky's work of the 1930s attempted to bring together modernist formalism with a Leftist political perspective. "A"-10 is a cry of despair in response to the
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in 1928. Demonstrating a precocious assimilation of modernist styles, this is an autobiographical portrait of the young poet. The poem satirizes the older modernists for their pessimism, particularly
93:, a short lived collective of poets who after several decades of obscurity would reemerge around 1960 and become a significant influence on subsequent generations of poets in America and abroad.
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Although
Zukofsky and the "Objectivists" would have little impact in the 1930s, their later rediscovery around 1960 would have a major influence on a broad range of younger poets known as the
623:(The Rope) interspersed with additional "Voice offs" of Zukofsky's invention. In 1968, Celia Zukofsky presented her husband with an elaborate musical assemblage: against the musical score of
466:", Zukofsky continued writing shorter poems throughout his life, although he had difficulties publishing outside of journals during the Depression era. His first collection of shorter poems,
192:
upon completing nearly all of the undergraduate curriculum in three and a half years, much like Adler, Zukofsky did not receive a
Columbia College degree after dropping out of the required
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The only one of his siblings born in the United States, Louis
Zukofsky was a precocious student in the local public school system. As a boy he frequented the nearby Yiddish theatres on the
347:, who would remain a major supporter of and influence on the younger poet. Williams found Zukofsky to be a valuable critic and editor of his own work, which he acknowledge by dedicating
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produced their most mature and innovative work during the 1960s and 1970s, which in many respects represented a salutatory formal emphasis that contrasted with the looseness of most
395:(1932), published by George Oppen's To, Publishers, and for a brief spell there was the collective The Objectivist Press, but the group attracted only limited attention at the time.
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composed an intricate and much admired translation of "A"-9 in 1970, which helped bring
Zukofsky to French attention. Other French poets engaged in translating Zukofsky include
642:. Although it outraged many when first published, this has been one of the most discussed and debated of Zukofsky's works. He also finished a novel begun in the early 1950s,
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and Spinoza. However, at the time there was little chance that he could publish a work on this scale, and "A"-12 did not appear complete until the first book publication of
576:, began to seek him out because of their desire to reconnect with the more innovative strands of poetic modernism developing from Pound and Williams. The poets and editors
650:, several collections of mostly short poems were published in the late 1950s and early 1960s, and particularly notable is the long poem "4 Other Countries" included in
551:, which began as an essay growing out of a summer course on Renaissance literature he taught at Hamilton College in 1947 but grew into a massive critical meditation on
482:, improvising with the vocabulary and definitions found in the dictionary. In the early 1940s he attempted more conventional short stories, of which the novella length
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after a hiatus of eight years with the second half of "A"-9, which again copies the complex form of Cavalcanti's canzone, but now using content primarily derived from
208:, and Adams would remain a significant intellectual influence on Zukofsky's work. One of Zukofsky's closest friends during the 1920s was his Columbia classmate,
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478:, a political dream play, which however remained unperformed and unpublished until the 1960s. During the same period he wrote a work of experimental prose,
470:, did not appear until 1941, although it represented work completed by the mid-1930, including "Poem beginning 'The'" and "'Mantis.'" Another collection,
156:, where he studied English. Some of his teachers and classmates subsequently emerged as important lodestars of midcentury literature and culture, namely
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The primary repository of Louis Zukofsky's manuscripts, notebooks and papers is the Harry Ransom Research Center at the University of Texas at Austin.
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498:'s work in large part through the presentation and arrangement of quotations. Throughout much of the 1930s Zukofsky worked on a poetry textbook,
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performed in Yiddish. Zukofsky began writing poetry at an early age, and his earliest known publications were in the student literary journal of
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Since the 1930s, Zukofsky worked in obscurity and found it difficult to publish, but gradually from the mid-1950s younger poets, most notably
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verse. Aside from Duncan and Creeley, among the many American poets who have acknowledged the influence of Zukofsky in their work include
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160:(who maintained a lifelong acquaintance with Zukofsky despite lambasting him as a "painfully inarticulate soul" in a 1927 article),
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1015:. Foreword by Charles Bernstein; Additional Prose edited & introduced by Mark Scroggins (Wesleyan University Press, 2001)
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1041:. Bilingual edition edited with introduction by Serge Gavronsky; foreword by Jean Daive (Wesleyan University Press, 2004)
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homophonic transcription. A sense of the everyday is interwoven with contemporary events, with "A"-15 responding to the
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with "A"-13, a "partita" in five sub-sections using a range of different forms. The late, mostly long, movements of
89:(January 23, 1904 – May 12, 1978) was an American poet. He was the primary instigator and theorist of the so-called
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and the Brazilian Concrete poetry movement. French poets in particular have been attracted to Zukofsky's example.
204:. He would publish a revised version of this thesis as "Henry Adams: A Criticism in Autobiography" in the journal
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949:(University of California Press, 1978; reprinted Johns Hopkins University Press, 1993; New Directions, 2011)
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was accompanied by a companion volume consisting of Celia Zukofsky's musical setting of Shakespeare's play
638:, a homophonic translation from Latin done in collaboration with his wife of the entire existent works of
232:(WPA), and over the course of the rest of the decade he worked on various WPA projects, most notably the
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137:, from which he graduated at age 15. While when young he translated from the modern Yiddish poetry of
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646:, an autobiographical account centered on a child violin prodigy, based on his son Paul. Aside from
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240:. In the same year, he met Celia Thaew (1913–1980) and they married in 1939; their only child,
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141:(Solomon Blumgarten), there is no indication he ever considered writing in Yiddish himself.
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981:(Cambridge University Press, 1993), does not include Zukofsky's side of the correspondence
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Another major work that preoccupied Zukofsky for much of the 1960s was the controversial
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1021:, with Celia Thaew Zukofsky. Foreword by Bob Perelman (Wesleyan University Press, 2003)
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670:. However, he only composed the epigraph to this latter work when he died in May 1978.
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286:. Just a few months after completing the latter work and proof-reading the complete
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Webmag "Jacket Magazine" (#30: July 2006), devotes a prominent section to Zukofsky
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published major works in the late 1950s, especially the first book publication of
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298:"award for creative work in literature" in 1976, and an honorary doctorate from
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in 1959. Much of the 1950s was preoccupied with another very large-scale work,
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Scroggins, Mark (2001–2002). "Z-Sited Path: Late Zukofsky and His Tradition".
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Beginning shortly before his 16th birthday in January 1920, Zukofsky attended
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volumes (Volume 2 is Celia Zukofsky's musical setting of Shakespeare's play
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course. Nevertheless, he was admitted to the Graduate School, receiving an
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Lang, Abigail (2016). "The Ongoing French Reception of the Objectivists".
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Disjunctive Poetics: From Gertrude Stein and Louis Zukofsky to Susan Howe
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710:. In the 1970s, Zukofsky's formalism was a major model for many of the
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This is the authoritative source on Zukofsky's biographical details.
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During his lifetime, Zukofsky had some contact and interaction with
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is the most significant. One of Zukofsky's most eccentric works was
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The Correspondence of William Carlos Williams & Louis Zukofsky,
900:(Grossman, 1970), selection of poems set to music by Celia Zukofsky
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176:(who may have enjoined Zukofsky to study the humanities instead of
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Louis Zukofsky and the Transformation of a Modern American Poetics
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The Trouble with Genius: Reading Pound, Joyce, Stein, and Zukofsky
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Pound/Zukofsky: Selected Letters of Ezra Pound and Louis Zukofsky,
474:, came out in 1946. In the mid-1930s he also wrote his only play,
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During the 1930-31 academic year, Zukofsky taught English at the
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and his last major work, the highly compressed poetic sequence
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Throughout most of the 1940s and 1950s, the Zukofskys lived in
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1009:. Foreword by Robert Creeley (Wesleyan University Press, 2000)
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Prepositions: The Collected Critical Essays of Louis Zukofsky
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248:, where he would remain until his retirement at the rank of
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in 1974, Zukofsky promptly started on his last major work,
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The Writing of Guillaume Apollinaire/Le Style Apollinaire
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A Useful Art: Essays and Radio Scripts on American Design
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Niedecker and the Correspondence with Zukofsky 1931–1970,
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Le Style Apollinaire/The Writing of Guillaume Apollinaire
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in 1965. He subsequently was a visiting professor at the
188:, a student literary journal. Although he was elected to
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The Zukofsky Era: Modernity, Margins and the Avant-Garde
936:(University of California Press, 1978), complete edition
228:. In 1934, Zukofsky began work as a researcher with the
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extensive selection of Zukofsky recordings at PennSound
1217:, University of California Press (Berkeley, CA), 1994.
682:. This was particularly the case because most of the
290:, Zukofsky died on May 12, 1978. He had been awarded
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Polytechnic Institute of New York University faculty
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Centennial Edition of the Complete Critical Writings
967:(Johns Hopkins University Press, 1991; reprinted as
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poets, which included besides Zukofsky, his friends
1138:. University of California Press. 1978. p. 38.
894:, with Celia Zukofsky (Cape Goliard/Grossman, 1969)
1270:Z-site: A Companion to the Works of Louis Zukofsky
1243:The Poem of a Life: A Biography of Louis Zukofsky
1064:The Poem of a Life: A Biography of Louis Zukofsky
987:ed. Barry Ahearn (Wesleyan University Press, 2003
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1236:Upper Limit Music: The Writing of Louis Zukofsky
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1152:. Wesleyan University Press. 2000. p. 228.
490:(1934), which was ghost written for his friend
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494:, presenting three approaches to the body of
405:Zukofsky's major work was the very long poem
1323:American people of Lithuanian-Jewish descent
1150:Prepositions+: The Collected Critical Essays
1013:Prepositions+: The Collected Critical Essays
718:, edited a volume of selected poems for the
427:. A related major poem, although outside of
918:(Grossman, 1973), play (composed mid-1930s)
820:(San Francisco State College, 1958), essays
770:, ed. Louis Zukofsky (To, Publishers, 1932)
101:Louis Zukofsky was born in New York City's
1229:Louis Zukofsky and the Poetry of Knowledge
955:ed. Barry Ahearn (Faber & Faber, 1987)
753:came out to considerable acclaim in 2020.
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874:All: The Collected Short Poems, 1956–1964
868:All: The Collected Short Poems, 1923–1958
609:and "A"-18 darkened by the trauma of the
1280:Zukofsky at the Electronic Poetry Center
1180:Transaltantica: American Studies Journal
1252:, University of California Press, 1994.
1207:, Johns Hopkins University Press, 2012.
1200:, University of California Press, 1983.
991:The Selected Letters of Louis Zukofsky,
780:(Les Presses Modernes, 1934), criticism
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457:
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1285:Zukofsky page at the Poetry Foundation
450:, after which Zukofsky paused work on
387:as well as Pound's friend and protégé
296:National Institute of Arts and Letters
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714:, and the prominent Language writer,
224:, the only time he lived outside the
1318:People from Port Jefferson, New York
1238:, University of Alabama Press, 1997.
1231:, University of Alabama Press, 1998.
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154:Graduate School of Arts and Sciences
1259:, National Poetry Foundation, 1979,
1224:, Cambridge University Press, 1992.
882:(Rapp & Whitting/Horizon, 1968)
838:(Origin Press, 1961), short fiction
808:(Objectivist Press, 1948), textbook
741:. A complete French translation of
343:Pound put Zukofsky in contact with
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1348:Columbia College (New York) alumni
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607:assassination of President Kennedy
444:in June 1940 structured on Bach's
267:, and finally they retired to the
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1035:(Wesleyan University Press, 2003)
1027:. Edited with an introduction by
246:Polytechnic Institute of Brooklyn
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357:. Pound persuaded the editor of
117:, where he saw classic works by
1368:People from the Lower East Side
1198:Zukofsky's "A": An Introduction
888:(Jonathan Cape/Doubleday, 1969)
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292:National Endowment for the Arts
226:New York City metropolitan area
222:University of Wisconsin–Madison
1245:, Shoemaker & Hoard, 2007.
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941:Letters and Collected editions
658:(1968). On finally completing
516:In 1948, Zukofsky returned to
502:, after the manner of Pound's
110:New York's garment district.
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294:Grants in 1967 and 1968, the
230:Works Projects Administration
1363:People from Brooklyn Heights
1257:Louis Zukofsky: Man and Poet
1124:. New Directions. p. 5.
864:(Boxwood/Mother Press, 1964)
263:, then from 1964 to 1973 in
48:New York City, United States
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1353:20th-century American poets
1328:Poets from New York (state)
969:Anew: Complete Short Poetry
768:An "Objectivists" Anthology
435:with the writings of Marx,
393:An "Objectivists" Anthology
150:undergraduate men's college
10:
1389:
1373:20th-century American Jews
1248:Stanley, Sandra Kumanoto.
1234:Scroggins, Mark (editor).
842:Bottom: on Shakespeare, 2
786:(privately printed, 1940)
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275:, where he completed his
254:University of Connecticut
200:in 1924 with a thesis on
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61:, New York, United States
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18:American poet (1904–1978)
1062:Scroggins, Mark (2007).
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993:ed. Barry Ahearn (2013)
562:Pericles, Prince of Tyre
480:Thanks to the Dictionary
273:Port Jefferson, New York
236:, a history of American
234:Index of American Design
971:, New Directions, 2011)
906:(Grossman, 1970), novel
904:Little: for Careenagers
818:5 Statements for Poetry
745:(except for "A"-24) by
596:, Zukofsky returned to
592:With the completion of
345:William Carlos Williams
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1107:"Gale - Product Login"
1093:"Gale - Product Login"
1079:"Gale - Product Login"
1019:Bottom: on Shakespeare
961:(Dalkey Archive, 1990)
930:(Celia Zukofsky, 1978)
826:(Celia Zukofsky, 1958)
549:Bottom: on Shakespeare
135:Stuyvesant High School
1333:Jewish American poets
965:Complete Short Poetry
184:and published in the
1255:Terrell, Carroll F.
1220:Quartermain, Peter.
1120:Pound, Ezra (1938).
858:(Trobar Press, 1963)
832:(Origin Press, 1959)
774:Le Style Apollinaire
762:Poetry, prose, drama
458:Other early writings
802:(Decker Press,1946)
784:First Half of "A" 9
415:St. Matthew Passion
339:"Objectivist" Poets
250:associate professor
182:Boar's Head Society
146:Columbia University
91:"Objectivist" poets
78:Columbia University
1066:. Shoemaker Hoard.
747:François Dominique
731:Anne-Marie Albiach
720:Library of America
680:New American Poets
391:. Zukofsky edited
210:Whittaker Chambers
194:physical education
1338:Objectivist poets
1291:Feature: Zukofsky
1241:Scroggins, Mark.
1227:Scroggins, Mark.
1167:(23–26): 147–160.
959:Collected Fiction
824:Barely and widely
727:Augusto de Campos
716:Charles Bernstein
652:Barely and widely
582:Jonathan Williams
373:Charles Reznikoff
180:). He joined the
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1029:Kenneth Sherwood
1007:A Test of Poetry
924:(Grossman, 1975)
912:(Grossman, 1972)
806:A Test of Poetry
500:A Test of Poetry
462:In tandem with "
454:for some years.
433:Great Depression
385:Lorine Niedecker
332:Guide to Kulchur
271:outer suburb of
261:Brooklyn Heights
238:material culture
46:January 23, 1904
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922:"A" 22 & 23
852:I's (pronounced
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751:Serge Gavronsky
735:Jacques Roubaud
696:Theodore Enslin
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668:Gamut: 90 trees
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447:Mass in B minor
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315:in his journal
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170:Lionel Trilling
103:Lower East Side
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999:
998:
997:
988:
982:
972:
962:
956:
950:
942:
939:
938:
937:
931:
925:
919:
913:
907:
901:
895:
889:
883:
877:
876:(Norton, 1966)
871:
870:(Norton, 1965)
865:
859:
849:
839:
833:
827:
821:
815:
814:(Jargon, 1956)
809:
803:
797:
787:
781:
771:
763:
760:
758:
755:
712:Language poets
708:Michael Palmer
700:Ronald Johnson
675:
672:
574:Robert Creeley
513:
510:
505:ABC of Reading
459:
456:
442:fall of France
402:
397:
365:Harriet Monroe
340:
337:
326:The Waste Land
307:
304:
269:Suffolk County
190:Phi Beta Kappa
174:Mortimer Adler
158:Mark Van Doren
98:
95:
87:Louis Zukofsky
82:
81:
75:
71:
70:
67:
63:
62:
59:Port Jefferson
54:
50:
49:
44:
40:
39:
37:Louis Zukofsky
36:
28:
27:
25:Louis Zukofsky
24:
17:
9:
6:
4:
3:
2:
1385:
1374:
1371:
1369:
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1247:
1244:
1240:
1237:
1233:
1230:
1226:
1223:
1219:
1216:
1212:
1211:Perelman, Bob
1209:
1206:
1202:
1199:
1195:
1194:
1181:
1174:
1166:
1159:
1151:
1145:
1137:
1131:
1123:
1116:
1108:
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1080:
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1040:
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1026:
1023:
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1017:
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986:
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976:
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966:
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960:
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954:
951:
948:
945:
944:
935:
932:
929:
926:
923:
920:
917:
914:
911:
908:
905:
902:
899:
898:Autobiography
896:
893:
890:
887:
884:
881:
878:
875:
872:
869:
866:
863:
860:
857:
853:
850:
847:
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840:
837:
834:
831:
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813:
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807:
804:
801:
798:
795:
791:
788:
785:
782:
779:
775:
772:
769:
766:
765:
754:
752:
748:
744:
740:
739:Pierre Alféri
736:
732:
728:
723:
721:
717:
713:
709:
705:
701:
697:
693:
689:
685:
681:
671:
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637:
632:
630:
626:
622:
621:
616:
612:
608:
603:
599:
595:
590:
587:
583:
579:
575:
571:
570:Robert Duncan
566:
564:
563:
558:
554:
550:
546:
542:
538:
533:
529:
528:
523:
519:
509:
507:
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501:
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493:
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485:
481:
477:
473:
469:
465:
455:
453:
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448:
443:
438:
434:
430:
426:
425:
420:
416:
412:
408:
401:
396:
394:
390:
389:Basil Bunting
386:
382:
378:
374:
370:
366:
362:
361:
356:
352:
351:
346:
336:
334:
333:
328:
327:
322:
318:
314:
303:
301:
297:
293:
289:
285:
281:
278:
274:
270:
266:
262:
257:
255:
251:
247:
243:
242:Paul Zukofsky
239:
235:
231:
227:
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218:
215:
211:
207:
203:
199:
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128:
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120:
116:
111:
108:
104:
94:
92:
88:
79:
76:
72:
68:
64:
60:
55:
51:
45:
41:
34:
29:
22:
16:
1343:Jewish poets
1290:
1256:
1249:
1242:
1235:
1228:
1221:
1214:
1204:
1197:
1179:
1173:
1164:
1158:
1149:
1144:
1135:
1130:
1121:
1115:
1101:
1087:
1073:
1063:
1057:
1044:
1038:
1033:John Taggart
1024:
1018:
1012:
1006:
990:
984:
974:
968:
964:
958:
952:
946:
933:
927:
921:
916:Arise, Arise
915:
909:
903:
897:
891:
885:
879:
873:
867:
861:
855:
851:
845:
841:
835:
829:
823:
817:
811:
805:
799:
794:Decker Press
789:
783:
773:
767:
757:Bibliography
742:
724:
704:John Taggart
692:projectivist
684:Objectivists
683:
677:
667:
663:
659:
656:Prepositions
655:
651:
647:
643:
635:
633:
628:
618:
601:
597:
593:
591:
585:
567:
560:
556:
548:
544:
531:
525:
517:
515:
512:Later career
503:
499:
487:
483:
479:
476:Arise, Arise
475:
471:
467:
463:
461:
451:
445:
428:
423:
406:
404:
399:
392:
377:George Oppen
359:
354:
348:
342:
330:
324:
316:
309:
306:Early career
300:Bard College
287:
283:
279:
258:
219:
205:
185:
166:John Erskine
143:
112:
100:
86:
85:
56:May 12, 1978
15:
1313:1978 deaths
1308:1904 births
778:René Taupin
611:Vietnam War
553:Shakespeare
496:Apollinaire
492:René Taupin
381:Carl Rakosi
369:Objectivist
277:magnum opus
202:Henry Adams
186:Morningside
178:engineering
119:Shakespeare
1302:Categories
928:80 Flowers
664:80 Flowers
578:Cid Corman
541:Paracelsus
363:magazine,
353:(1944) to
321:T.S. Eliot
313:Ezra Pound
284:80 Flowers
162:John Dewey
127:Strindberg
66:Occupation
886:"A" 13–21
862:After I's
812:Some Time
722:(2006).
537:Aristotle
484:Ferdinand
419:Karl Marx
350:The Wedge
317:The Exile
302:in 1977.
265:Manhattan
74:Education
1165:Talisman
892:Catullus
848:) (1963)
846:Pericles
830:"A" 1–12
790:55 Poems
640:Catullus
636:Catullus
545:"A" 1–12
468:55 Poems
80:(BA, MA)
796:, 1941)
776:, with
617:' play
615:Plautus
522:Spinoza
424:Capital
139:Yehoash
131:Tolstoy
107:Yiddish
910:"A" 24
836:It Was
674:Legacy
644:Little
625:Handel
620:Rudens
594:Bottom
557:Bottom
527:Ethics
383:, and
360:Poetry
206:Pagany
129:, and
115:Bowery
1049:Notes
437:Lenin
214:Ph.D.
123:Ibsen
1182:(1).
977:ed.
854:eyes
800:Anew
749:and
737:and
706:and
690:and
688:Beat
580:and
572:and
532:"A"'
472:Anew
411:Bach
379:and
355:L.Z.
198:M.A.
172:and
152:and
97:Life
53:Died
43:Born
1136:"A"
947:"A"
934:"A"
743:"A"
660:"A"
648:"A"
629:"A"
602:"A"
598:"A"
586:"A"
524:'s
518:"A"
452:"A"
429:"A"
421:'s
413:'s
407:"A"
400:"A"
323:'s
288:"A"
280:"A"
148:'s
105:to
1304::
1213:.
702:,
698:,
565:.
539:,
375:,
256:.
168:,
164:,
125:,
121:,
1109:.
1095:.
1081:.
996:.
856:)
792:(
464:A
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