Typewriting as War Machine: Robert Duncan between Self- and Anti-Publishing
Even if publishing one’s poetic works with New Directions, James Laughlin’s New-York-based publishing house, is still seen by many in the experimental poetry world as the ultimate accolade, underground alternatives turn out to have been even more appealing to a marginal figure like the Bay Area poet...
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| Опубликовано в: : | URI:https://journals.openedition.org/ideas, |
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| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Опубликовано: |
IdeAs
2017
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| Предметы: | |
| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Итог: | Even if publishing one’s poetic works with New Directions, James Laughlin’s New-York-based publishing house, is still seen by many in the experimental poetry world as the ultimate accolade, underground alternatives turn out to have been even more appealing to a marginal figure like the Bay Area poet Robert Duncan (1919-1988). A quick glance at the author’s bibliography unravels striking shifts in his publishing policy. Before and between his major New Direction volumes, the poet produced a whole series of small, hardly circulated chapbooks. These small publications not only reflect his commitment to the small press scene, but also convey a forceful point about the writer’s autonomy from the empire of publishing. |
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