“Objectivists” 1927-1934 Section 12 - American Poetry 1920-1930 Contents

Notes - Section 12 - American Poetry 1920-1930

1 Marcella Booth, A Catalogue of the Louis Zukofsky Manuscript Collection (Austin: University of Texas, 1975), p. 201, No. E6a. A draft of the essay was finished by 27 May 1930 according to Zukofsky’s letter to Pound, Yale.

2 Zukofsky, Letter to Monroe, 12 October 1931, Poetry Papers, 1912-1936, Department of Special Collections, University of Chicago Library, box 41, folder 14.

3 “Program: ’Objectivists’ 1931,” Poetry (February 1931), 268. Symposium: A Critical Review, 2, 1 (January 1931), 60-94; reprinted, revised with many omissions, in Prepositions: The Collected Critical Essays of Louis Zukofsky, Expanded Edition (Berkeley: University of California Press, 1981), pp. 137-151.

4 Symposium, p. 60.

5 Symposium, p. 61; Prepositions, p. 137.

6 Symposium, p. 61; Prepositions, pp. 137-138. Zukofsky misquotes Moore, “New York,” in which she sums up the true value of the York of the New World by, simply: “it is the ‘accessibility to experience.’” Observations (New York: Dial Press, 1925), pp. 100, 65. Moore in her notes cites as her source Henry James.

7 Symposium, p. 65.

8 Symposium, p. 65; Prepositions, pp. 137-138.

9 Symposium, p. 67; Prepositions, pp. 139-140.

10 Symposium, p. 66; Prepositions, p. 139 (revised).

11 Symposium, pp. 68-69; Prepositions, p. 140.

12 Symposium, pp. 66-69; Prepositions, pp. 139-140 (revised). See Pound, Anthiel and the Treatise on Harmony, p. 44.

13 Symposium, p. 70; Prepositions, p. 141 (revised).

14 Literary Essays, p. 9.

15 Symposium, p. 71; Prepositions, p. 141.

16 Symposium, pp. 71-72.

17 Symposium, pp. 80-81; Prepositions, pp. 148-149.

18 Symposium, p. 72; Prepositions, p. 142 (revised). This repeated with slight changes in “Program: ‘Objectivists’ 1931 “ Poetry (February 1931), 268. See Section 15.

19 T. S. Eliot, “The Metaphysical Poets,” in The Norton Anthology of English Literature, Volume II, pp. 2210-2212.

20 Symposium, p. 74; Prepositions, p. 143.

21 Pound, Selected Prose, pp. 374-375. Symposium, p. 74; Prepositions, p. 143.

22 Symposium, p. 72; Prepositions, p. 142.

23 Symposium, p. 81; Prepositions, p. 149.

24 Symposium, p. 62; Prepositions, p. 138 (revised).

25 Pound, Selected Prose, p. 375.

26 Symposium, p. 78; Prepositions, p. 146.

27 Poetry (February 1931), 283-284. See Section 8 and “Appendix,” An “Objectivists” Anthology.

28 Symposium, p. 78; Prepositions, p. 147 (revised).

29 Symposium, pp. 78-79; Prepositions, p. 147.

30 Symposium, p. 67; Prepositions, p. 139.

31 Symposium, p. 72; Prepositions, p. 142 (revised).

32 Symposium, p. 73; Prepositions, p. 143. “An Octopus,” Observations, p. 89: “Neatness of finish! Neatness of finish! / Relentless accuracy is the nature of this octopus / with its capacity for fact.”

33 René Taupin, “Three Poems by André Salmon,” trans. Louis Zukofsky, Poetry (February 1931), 290: “Nominalistic poetry is a synthesis of real detail.”

34 Symposium, p. 73; Prepositions, p. 143.

35 Pound, English Journal (November 1930), 701, quoted by Zukofsky in “’Recencies’ in Poetry,” An “Objectivists” Anthology, p. 13.

36 Symposium, pp. 79-84; Prepositions, pp. 148-151 (revised).

37 Symposium, pp. 63-64; Prepositions, p. 138 (revised).

38 Williams, The Autobiography, p. 264.

39 Symposium, p. 74; Prepositions, p. 143 (revised).

40 Symposium, p. 74.

41 Symposium, pp. 74-75; Prepositions, p. 143 (revised).

42 Symposium, pp. 75-77; Prepositions, pp. 144-145 (revised).

43 Symposium, pp. 82-83; Prepositions, p. 150. Charles Olson reformulated the concept that the line could be used like a musical bar to graph for reading the movement of the object in “Projective Verse,” Selected Writings, pp. 22-23.

44 Symposium, p. 64.

45 Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound (San Francisco: City Lights Books, 1969), p. 8.

46 Poetry (February 1931), 273-274.

47 Symposium, p. 62.

48 Symposium, p. 62. “After Rain,” Jerusalem the Golden (New York: The Objectivist Press, 1935); CPI, p. 114, No. 34.

49 Symposium, pp. 63-64. The coinage “concision” occurs also in Pound, Literary Essays, p. 162. Reznikoff’s poem is apparently part of a longer work, never published and, as Zukofsky wrote, titled “Landing at Jamestown,” derived from Edward Arber’s edition, The Works of Captain John Smith. CPI, p. 122, No. 74.

50 Symposium, pp. 72-73; Prepositions, p. 142.

51 Symposium, p. 73; Prepositions, pp. 142-143.