{"id":925,"date":"2023-03-23T12:25:16","date_gmt":"2023-03-23T16:25:16","guid":{"rendered":"https:\/\/umaine.edu\/poetry\/?page_id=925"},"modified":"2024-10-09T15:38:12","modified_gmt":"2024-10-09T19:38:12","slug":"1930s-conference","status":"publish","type":"page","link":"https:\/\/umaine.edu\/poetry\/1930s-conference\/","title":{"rendered":"The First Postmodernists: American Poets of the 1930s Generation"},"content":{"rendered":"<style>.kb-row-layout-id925_1b59df-46 > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id925_1b59df-46 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id925_1b59df-46 > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}.kb-row-layout-id925_1b59df-46 > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id925_1b59df-46 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}}@media all and (max-width: 767px){.kb-row-layout-id925_1b59df-46 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id925_1b59df-46 alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-right-golden kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column925_a63226-d7 > .kt-inside-inner-col,.kadence-column925_a63226-d7 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column925_a63226-d7 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column925_a63226-d7 > .kt-inside-inner-col{flex-direction:column;}.kadence-column925_a63226-d7 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column925_a63226-d7 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column925_a63226-d7{position:relative;}@media all and (max-width: 1024px){.kadence-column925_a63226-d7 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column925_a63226-d7 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column925_a63226-d7\"><div class=\"kt-inside-inner-col\"><style>.kb-image925_2d4e48-a2 .kb-image-has-overlay:after{opacity:0.3;}<\/style>\n<figure class=\"wp-block-kadence-image kb-image925_2d4e48-a2 size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"1024\" src=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/30s-conf001-665x1024.jpg\" alt=\"An image of the cover for the conference program, The First Postmodernists: American Poets of the 1930s Generation\" class=\"kb-img 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\/><\/figure>\n<\/div><\/div>\n\n\n<style>.kadence-column925_c390fa-8f > .kt-inside-inner-col,.kadence-column925_c390fa-8f > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column925_c390fa-8f > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column925_c390fa-8f > .kt-inside-inner-col{flex-direction:column;}.kadence-column925_c390fa-8f > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column925_c390fa-8f > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column925_c390fa-8f{position:relative;}@media all and (max-width: 1024px){.kadence-column925_c390fa-8f > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column925_c390fa-8f > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column925_c390fa-8f\"><div class=\"kt-inside-inner-col\">\n<h3 class=\"wp-block-heading\">Program&nbsp;<\/h3>\n\n\n\n<p>THURSDAY, JUNE 17<\/p>\n\n\n\n<p><strong>Session #1, First Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Albert Gelpi, \u201cI Am Your Woman: The Erotic Mysticism of William Everson\u201d<\/p>\n\n\n\n<p><strong>Session #2, Panels<\/strong><\/p>\n\n\n\n<p>Panel 2A: Muriel Rukeyser I<\/p>\n\n\n\n<p>Chair: Anne Herzog<\/p>\n\n\n\n<p>Fran McManus, \u201c\u2018God\u2019s Blood\u2019: Muriel Rukeyser\u2019s Communion of Poetry and Politics\u201d<\/p>\n\n\n\n<p>Jane C. Penner, \u201c\u2018A Scene of Power\u2019: Muriel Rukeyser and the Uses of History\u201d<\/p>\n\n\n\n<p>Panel 2B: Politics, Plurality, and Poetry: The Harlem Renaissance and American Transformation<\/p>\n\n\n\n<p>Chair: Linda Taylor-Kinnahan<\/p>\n\n\n\n<p>Danette DiMarco, \u201c<em>Cane<\/em>: Inventing Modernist Alienation\u201d<\/p>\n\n\n\n<p>Elizabeth Savage,&nbsp; \u201c\u2018Toward New Beliefs\u2019: Robert Hayden and the Poetics of Identity\u201d<\/p>\n\n\n\n<p>Alexis Southard, \u201c(Post)modern Rhythms: Hughes\u2019s Collective Vision\u201d<\/p>\n\n\n\n<p>Panel 2C: Louis Zukofsky I<\/p>\n\n\n\n<p>Chair: Ken Pottle<\/p>\n\n\n\n<p>William Howe, \u201cLZ\u2019s Playing with Ink?\u201d<\/p>\n\n\n\n<p>Kent Johnson, \u201cA Fractal Music: Some Notes on Zukofsky\u2019s&nbsp;<em>80 Flowers<\/em>\u201d<\/p>\n\n\n\n<p>Bob Perelman, \u201cThe Sound of Allegory: Louis Zukofsky, Music, and Writing\u201d<\/p>\n\n\n\n<p>Panel 2D: William Carlos Williams in the 1930s<\/p>\n\n\n\n<p>Chair: Ed Foster<\/p>\n\n\n\n<p>Thomas F. Bertonneau, \u201cThe Temple of Savage Slaughter: Williams\u2019s Beautiful Thing as Primordial Signifier (An Anthropoetics)\u201d<\/p>\n\n\n\n<p>William Melany, \u201cA Prelude to Objectivist Poetics: W. C. Williams and&nbsp;<em>The Descent to Winter<\/em>\u201d<\/p>\n\n\n\n<p>Jonathan Veitch, \u201cWilliam Carlos Williams, Nathanael West, and the Textualization of the \u2018Real\u2019\u201d<\/p>\n\n\n\n<p>Panel 2E: Genevieve Taggard and Marya Zaturenska<\/p>\n\n\n\n<p>Chair: Richard Flynn<\/p>\n\n\n\n<p>Anita G. Gorman, \u201cGenevieve Taggard\u2019s Poetics: Biography, Radicalism, Experiment\u201d<\/p>\n\n\n\n<p>Gwendolyn S. Sell, \u201cGenevieve Taggard and the Conflict Between Formalist Poetics and Activist Politics\u201d<\/p>\n\n\n\n<p>Richard and Janis Londraville, \u201cThe Poetry of Marya Zaturenska\u201d<\/p>\n\n\n\n<p>Panel 2F: Laura Riding I<\/p>\n\n\n\n<p>Chair: Karl Precoda<\/p>\n\n\n\n<p>Bruce Campbell, \u201c\u2018Like a Sacred Frontier to Content\u2019: The Works of Laura (Riding) Jackson\u201d<\/p>\n\n\n\n<p>Susan Beth Koenig, \u201cExperimental Reading and Laura Riding\u2019s Later Essays\u201d<\/p>\n\n\n\n<p>Rosanne Wasserman, \u201cLaura (Riding) Jackson and Good Poetry\u201d<\/p>\n\n\n\n<p>Panel 2G: Kenneth Fearing I<\/p>\n\n\n\n<p>Chair: Naomi Jacobs<\/p>\n\n\n\n<p>Rita Barnard, \u201cMovies, Politics, and Poetry\u201d<\/p>\n\n\n\n<p>James A. Perkins, \u201cKenneth Fearing\u2019s American Rhapsody: A Modern Poetic Sequence\u201d<\/p>\n\n\n\n<p>Matthew Sweney, \u201cThe Juke-box Spoke and the Juke-box Said: \u2018Kenneth, What is the Frequency?\u2019\u201d<\/p>\n\n\n\n<p><strong>Session #3, Panels<\/strong><\/p>\n\n\n\n<p>Panel 3A: Edna St. Vincent Millay in the 1930s<\/p>\n\n\n\n<p>Chair: Kathleen Lignell<\/p>\n\n\n\n<p>David A. Epstein, \u201c\u2018The Time Wrongs Us\u2019: Edna St. Vincent Millay in the 1930s\u201d<\/p>\n\n\n\n<p>JoAnn Pavletich, \u201cWhen Death Sells Poems: Edna St. Vincent Millay, Modernism, and the New Woman\u201d<\/p>\n\n\n\n<p>Panel 3B: Lorine Niedecker I<\/p>\n\n\n\n<p>Chair: Bruce Campbell<\/p>\n\n\n\n<p>Michelle Gibson, \u201cA History of the Criticism of Lorine Niedecker: Making and Unmaking Myth\u201d<\/p>\n\n\n\n<p>Michael Tomasek Manson, \u201cThe Example of Lorine Niedecker: Toward a Materialist Feminist Theory of Poetic Form\u201d<\/p>\n\n\n\n<p>Panel 3C: Jacob Glatshteyn<\/p>\n\n\n\n<p>Chair: Mathew Sweney<\/p>\n\n\n\n<p>Rachel Rubin, \u201c\u2018The Dream of His Kingdom\u2019: A Jewish New World in Jacob Glatshteyn\u2019s&nbsp;<em>Sheeny Mike<\/em>\u201d<\/p>\n\n\n\n<p>Dan Shiffman, \u201cModernist Intimacy in the Poetry of Jacob Glatstein\u201d<\/p>\n\n\n\n<p>Panel 3D: Laura Riding II<\/p>\n\n\n\n<p>Chair: Suzanne Young<\/p>\n\n\n\n<p>Jeanne Heuving, \u201cLaura Riding Jackson\u2019s Transgressive Purifications\u201d<\/p>\n\n\n\n<p>Anne Shifrer, \u201cBeliever Too Much in Words: Laura Riding, H.D., and the Quest for Totality\u201d<\/p>\n\n\n\n<p>Panel 3E: Robert McAlmon and e. e. cummings<\/p>\n\n\n\n<p>Chair: Harvey Kail<\/p>\n\n\n\n<p>Colleen Hamilton, \u201ce. e. cummings: Writing in a New Technological Age\u201d<\/p>\n\n\n\n<p>Ed Lorusso, \u201cA Romantic&nbsp;<em>Malgr\u00e9 Lui<\/em>: Robert McAlmon\u2019s Return to Whitman\u201d<\/p>\n\n\n\n<p>Panel 3F: W.H. Auden<\/p>\n\n\n\n<p>Chair: Paul Bauschatz<\/p>\n\n\n\n<p>Laura Cowen, \u201cAuden and\/in America\u201d<\/p>\n\n\n\n<p>Denise Weeks, \u201cAuden\u2019s \u2018Low Dishonest Decade\u2019: A Prelude to the Postmodern\u201d<\/p>\n\n\n\n<p>Panel 3G: Marianne Moore in the 1930s I<\/p>\n\n\n\n<p>Chair: Jennifer Pixley<\/p>\n\n\n\n<p>Philip Cavalier, \u201c\u2018Box-Bordered\u2019 Identities: Assimilation and Appropriation in Moore\u2019s \u2018Virginia Britannai\u2019\u201d<\/p>\n\n\n\n<p>Bonnie Costello, \u201cMarianne Moore: Shaping Poetry for the 1930s\u201d<\/p>\n\n\n\n<p><strong>Session #4<\/strong><\/p>\n\n\n\n<p>A Program of Songs Based on Poems by Poets of the 1930s Generation<\/p>\n\n\n\n<p>Nancy Ogel, soprano<\/p>\n\n\n\n<p>Joe Arsenault, piano<\/p>\n\n\n\n<p><strong>Session #5: Second Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Alan Golding<\/p>\n\n\n\n<p>Marjorie Perloff, \u201c1931: Entering the New Decade\u201d<\/p>\n\n\n\n<p><strong>Session #6A, Poetry Reading<\/strong><\/p>\n\n\n\n<p>David Ignatow and Virginia Terris<\/p>\n\n\n\n<p><strong>Session #6B: Poetry Reading<\/strong><\/p>\n\n\n\n<p>Kathleen Lignell and Sylvester Pollet, followed by open reading<\/p>\n\n\n\n<p>FRIDAY, JUNE 18<\/p>\n\n\n\n<p><strong>Session #7, Panels<\/strong><\/p>\n\n\n\n<p>Panel 7A: Lorine Niedecker II<\/p>\n\n\n\n<p>Chair: Mary Ellen LeClair<\/p>\n\n\n\n<p>Burt Kimmelman, \u201cThe Subjectivity of Objectivism and the Search for Truth Values: The Case of Lorine Niedecker\u201d<\/p>\n\n\n\n<p>Judith Schwartz, \u201cLorine Niedecker\u2019s Circular \u2018Objectivism\u2019\u201d<\/p>\n\n\n\n<p>Panel 7B: The Long Poem After Modernism<\/p>\n\n\n\n<p>Chair: Michael Fournier<\/p>\n\n\n\n<p>Charles Boultenhouse, \u201cParker Tyler\u2019s&nbsp;<em>The Granite Butterfly<\/em>\u201d<\/p>\n\n\n\n<p>Sharon Fleming, \u201cMemories of Childhood: Long Poems by Mina Loy, Lola Ridge, and Laura Riding\u201d<\/p>\n\n\n\n<p>William Keeney, \u201cHunting and Killing the American Muse: Epic Invocation and the Problem of Authority in the American Epics of Steven Vincent Ben\u00e9t, Hart Crane, and Archibald MacLeish\u201d<\/p>\n\n\n\n<p>Panel 7C: Langston Hughes<\/p>\n\n\n\n<p>Chair: Anthony Dawahare<\/p>\n\n\n\n<p>Rosemary L. Gates, \u201cSyncopating Glory: Langston Hughes and the Identity of American Free Verse\u201d<\/p>\n\n\n\n<p>Jahan Ramazani, \u201cLangston Hughes, the Blues, and African-American Elegy\u201d<\/p>\n\n\n\n<p>Kathy Rugoff, \u201cBebop and Bach: Music and the Cultural Spheres of Langston Hughes and Louis Zukofsky\u201d<\/p>\n\n\n\n<p>Panel 7D: Poets in Their Youth in the 1930s<\/p>\n\n\n\n<p>Chair: Thomas Travisano<\/p>\n\n\n\n<p>Celeste Goodridge, \u201cThe Politics of Poetic Practice: Wallace Stevens and Elizabeth Bishop\u201d<\/p>\n\n\n\n<p>Richard Flynn, \u201c\u2018The End of the Line\u2019: Randall Jarrell, the \u201830s, and Postmodernism\u201d<\/p>\n\n\n\n<p>Thomas Travisano, \u201cVoicing the \u201830s: Berryman\u2019s Artistic Struggle\u201d<\/p>\n\n\n\n<p>Panel 7E: The Pose of Prose: Identity and Poetics in the Work of Jean Toomer, William Saroyan, and John Berryman<\/p>\n\n\n\n<p>Chair: Kathryne V. Lindberg<\/p>\n\n\n\n<p>Joseph Donahue, \u201cImaginary Fascist, Imaginary Jew: John Berryman and the Poetics of Fascism\u201d<\/p>\n\n\n\n<p>Edward Foster, \u201cEthnicity, Process, and the Poetics of William Saroyan\u201d<\/p>\n\n\n\n<p>Kathryne V. Lindberg, \u201cJean Toomer and the Race Card: The Avant-Garde\u2019s Raising of&nbsp;<em>Cane<\/em>\u201d<\/p>\n\n\n\n<p>Panel 7F: Mina Loy I<\/p>\n\n\n\n<p>Chair: Marisa Januzzi<\/p>\n\n\n\n<p>Maria Bennett, \u201cErotic Absence: The Love Songs of Mina Loy\u201d<\/p>\n\n\n\n<p>Susan Glimore, \u201cImna, Ova, Mongrel, Spy: Anagram and Imposture in the Poetry of Mina Loy\u201d<\/p>\n\n\n\n<p>Von Underwood, \u201c\u2018Behind God\u2019s Eyes There Might Be Other Lights\u2019: Virginity, Eroticism, and Automatism in Mina Loy\u2019s \u2018Songs to Joannes\u2019\u201d<\/p>\n\n\n\n<p>Panel 7H: David Ignatow<\/p>\n\n\n\n<p>Chair: Rosanne Wasserman<\/p>\n\n\n\n<p>Gary Pacernick, \u201cDavid Ignatow, Objectivists, and Objectication\u201d<\/p>\n\n\n\n<p>A. Sandy McIntosh, \u201cA Poet Among People: David Ignatow\u2019s Poetry of Engagement\u201d<\/p>\n\n\n\n<p>Virginia R. Terris, \u201c\u2018Brother to the Tree\u2019: Symbol in the Poems of David Ignatow\u201d<\/p>\n\n\n\n<p><strong>Session #8, Third Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Denise Weeks<\/p>\n\n\n\n<p>Cary Nelson, \u201cPoetry Chorus: Dialogic Poetics in 1930s Political Poetry\u201d<\/p>\n\n\n\n<p><strong>Session #9, Panels<\/strong><\/p>\n\n\n\n<p>Panel 9A: Muriel Rukeyser II<\/p>\n\n\n\n<p>Chair: Fran McManus<\/p>\n\n\n\n<p>Anne Herzog, \u201c\u2018Anything Away from Anything\u2019: Muriel Rukeyser\u2019s Postmodern Poetics\u201d<\/p>\n\n\n\n<p>Janet Kaufman, \u201cReading Muriel Rukeyser\u2019s Jewish Postmodern Poetics\u201d<\/p>\n\n\n\n<p>Laura Severin, \u201cRefashioning Art, Refashioning Science: Muriel Rukeyser\u2019s Challenge to T.S. Eliot\u201d<\/p>\n\n\n\n<p>Panel 9B: Kenneth Rexroth I<\/p>\n\n\n\n<p>Chair: Albert Gelpi<\/p>\n\n\n\n<p>Linda Hamalian, \u201cThe \u2018High\u2019 Regionalism of Kenneth Rexroth: How to Create a Common Literary Sensibility\u201d<\/p>\n\n\n\n<p>Panel 9C: Fugitives<\/p>\n\n\n\n<p>Chair: Karl Precoda<\/p>\n\n\n\n<p>Karl Precoda, \u201cNew Criticism and Postmodernism: Ransom in the \u201830s\u201d<\/p>\n\n\n\n<p>Mary Louise Weaks, \u201cThe Confederate Dead and Their Southern Waste Land: Fugitive\/Agrarian Poetry and Modern Poetics\u201d<\/p>\n\n\n\n<p>Harte Weiner, \u201cCulture, Made or Begotten?\u201d<\/p>\n\n\n\n<p>Panel 9D: Objectivist Perspectives I<\/p>\n\n\n\n<p>Chair: Marjorie Perloff<\/p>\n\n\n\n<p>Norman Finkelstein, \u201cObjectivism, Introspectivisim, and the Ordeal of Civility\u201d<\/p>\n\n\n\n<p>Michael Heller, \u201c1930s Poetry and Poetics: Utopocalyptic Moments\u201d<\/p>\n\n\n\n<p>Peter Quartermain, \u201cThe Poetics of Procedural Composition: The Case of Louis Zukofsky\u201d<\/p>\n\n\n\n<p>Panel 9E: Mina Loy II<\/p>\n\n\n\n<p>Chair: Suzanne Young<\/p>\n\n\n\n<p>Linda A. Taylor-Kinnahan, \u201cSilence and Social Revision: Mina Loy in the \u201830s and \u201840s\u201d<\/p>\n\n\n\n<p>Maeera Shreiber, \u201cSaint Mina: Canonizing the Material\u201d<\/p>\n\n\n\n<p>Panel 9F: African-American Post-Modernism<\/p>\n\n\n\n<p>Chair: Murray E. Jackson<\/p>\n\n\n\n<p>Peter J. Grieco, \u201cReading the Poetic Subject in the Works of Claude McKay\u201d<\/p>\n\n\n\n<p>Bill Mullen, \u201cSterling Brown\u2019s (Post?) Modern Blues\u201d<\/p>\n\n\n\n<p>Mark Rank, \u201cA Self-Reflexive Text: Jean Toomer\u2019s&nbsp;<em>Cane&nbsp;<\/em>as a Metaphor for Relation\u201d<\/p>\n\n\n\n<p>Panel 9G: Nathanael West, Archibald MacLeish, Tillie Olsen<\/p>\n\n\n\n<p>Chair: Marie Urbanski<\/p>\n\n\n\n<p>Catherine Howard, \u201cThe Post-Modern Journey: Nathanael West and the Road to Nowhere\u201d<\/p>\n\n\n\n<p>Anthony Dawahare, \u201cThe Anti-Aesthetics of Tillie Olsen\u201d<\/p>\n\n\n\n<p>D. Quentin Miller, \u201cThe Tension Between Modern Aesthetics and Political Duty in the Poetry of Archibald MacLeish\u201d<\/p>\n\n\n\n<p><strong>Session #10, Panel of Poets of the 1930s Generation<\/strong><\/p>\n\n\n\n<p>Chair: Allen Ginsberg<\/p>\n\n\n\n<p>Vincent Ferrini, David Ignatow, Carl Rakosi<\/p>\n\n\n\n<p><strong>Session #11, Poetry Reading<\/strong><\/p>\n\n\n\n<p>Chair: Steve Shoemaker<\/p>\n\n\n\n<p>Allen Ginsberg and Carl Rakosi<\/p>\n\n\n\n<p><strong>Session #12, Fourth Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Allen Ginsberg, \u201cThe Impact of the Imagist\/Objectivist Tradition on Postwar American Bards\u201d<\/p>\n\n\n\n<p><strong>Session #13, Poetry Reading<\/strong><\/p>\n\n\n\n<p>Chairs: Kathleen Lignell and Sylvester Pollet<\/p>\n\n\n\n<p>Charles Bernstein, David Bromige, Bob Perelman, Joan Retallack, and Barrett Watten<\/p>\n\n\n\n<p>SATURDAY, JUNE 19<\/p>\n\n\n\n<p><strong>Session #14, Panels<\/strong><\/p>\n\n\n\n<p>Panel 14A: Louis Zukofsky II<\/p>\n\n\n\n<p>Chair: Sandra Stanley<\/p>\n\n\n\n<p>Barry Ahearn, \u201cThe WPA and&nbsp;<em>\u2018A\u2019<\/em>\u201d<\/p>\n\n\n\n<p>Alec Marsh, \u201cPound, Zukofsky, and the Labor Theory of Value\u201d<\/p>\n\n\n\n<p>Ira Nadel, \u201cLouis Zukofsky:&nbsp;<em>American Design&nbsp;<\/em>and Cultural Politics\u201d<\/p>\n\n\n\n<p>Panel 14B: Laura Riding II<\/p>\n\n\n\n<p>Chair: Karl Precoda<\/p>\n\n\n\n<p>Barbara Adams, \u201cInfluences: Laura Riding Among the Poets\u201d<\/p>\n\n\n\n<p>Steven Meyer, \u201cLaura Riding Reading Gertrude Stein\u201d<\/p>\n\n\n\n<p>Barrett Watten, \u201cWriting After History: Laura Riding as Finality\u201d<\/p>\n\n\n\n<p>Panel 14C: Mina Loy\u2019s&nbsp;<em>Insel<\/em><\/p>\n\n\n\n<p>Chair: Maeera Shreiber<\/p>\n\n\n\n<p>Susan E. Dunn, \u201cPost\/modern Subjects: Surrealism and Mina Loy\u2019s&nbsp;<em>Insel<\/em>\u201d<\/p>\n\n\n\n<p>Marisa Januzzi, \u201c\u2018Something to Do, Something to Undo\u2019: From Feminine Poetics to the Prose Narrative of Mina Loy\u2019s&nbsp;<em>Insel<\/em>\u201d<\/p>\n\n\n\n<p>Tyrus Miller, \u201c\u2018<em>Jedermann sein eigenes Fluoroskop<\/em>\u2019: Loy\u2019s&nbsp;<em>Insel<\/em>&nbsp;Between Aura and Image Machine\u201d<\/p>\n\n\n\n<p>Panel 14D: Hart Crane<\/p>\n\n\n\n<p>Chair: Laura Cowan<\/p>\n\n\n\n<p>James McCorkle and Cynthia Williams, \u201cEcstasy and Emancipation in the Work of Isadora Duncan and Hart Crane\u201d<\/p>\n\n\n\n<p>Russell Elliott Murphy, \u201cHeroic Sap: Hart Crane and the Poetry of Hope\u201d<\/p>\n\n\n\n<p>Susan Schultz, \u201cHart Crane and the Impasse of Formalism\u201d<\/p>\n\n\n\n<p>Panel 14E: George Oppen<\/p>\n\n\n\n<p>Chair: Alan Golding<\/p>\n\n\n\n<p>David Bromige, \u201cThe Meaning of Being Numerous: Oppen at Various Speeds\u201d<\/p>\n\n\n\n<p>Ruth Grogan, \u201c\u2018Stone universe, but we are not\u2019: George Oppen\u2019s Poetry and Prose\u201d<\/p>\n\n\n\n<p>Jefferson Hansen, \u201cGeorge Oppen\u2019s Stanzas: Fragments of the Whole\u201d<\/p>\n\n\n\n<p>Panel 14F: Three Poets of the 1930s Generation<\/p>\n\n\n\n<p>Chair: P. Michael Campbell<\/p>\n\n\n\n<p>Joseph Conte, \u201cJohn Wheelwright: Argument for a Postmodern Sonnet Sequence\u201d<\/p>\n\n\n\n<p>Edward J. Gleason, \u201cPostmodern Pictorial Sensibility in the Poetry of James Agee\u201d<\/p>\n\n\n\n<p>Demetres P. Tryphonopoulos, \u201c\u2018So Much Depends\u2019: James Laughlin as Poet\u201d<\/p>\n\n\n\n<p>Panel 14G: \u201cAnd They Know in Their Bodies Other Places\u201d: Three Women Poets of Modernity and Dislocation<\/p>\n\n\n\n<p>Chair: Page Delano<\/p>\n\n\n\n<p>Nancy Berke, \u201c\u2018Different Fires\u2019: Transforming the Urban Landscape in Lola Ridge\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Page Delano, \u201cContinuing the Discussion: Muriel Rukeyser\u2019s War Poetry: The Female Body and Power\u201d<\/p>\n\n\n\n<p>Caroline MacKenzie, \u201cAtavistic Imagery in the Poetry of Gwendolyn B. Bennett\u201d<\/p>\n\n\n\n<p>Panel 14H: Marianne Moore in the 1930s II<\/p>\n\n\n\n<p>Chair: Jeanne Heuving<\/p>\n\n\n\n<p>Elizabeth H. Davis, \u201cFaulty Decorum: Marianne Moore\u2019s Irregular Syllabic Stanzas\u201d<\/p>\n\n\n\n<p>Sheila Kineke, \u201cRereading Marianne Moore: Moore, Eliot, and the Literary Magazines of the 1930s\u201d<\/p>\n\n\n\n<p><strong>Session #15, Fifth Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>M.L. Rosenthal, \u201cChief Poets of the American Depression\u201d<\/p>\n\n\n\n<p><strong>Session #16, Panels<\/strong><\/p>\n\n\n\n<p>Panel 16A: Louis Zukofsky III<\/p>\n\n\n\n<p>Chair: Joseph Conte<\/p>\n\n\n\n<p>Marnie Parsons, \u201c\u2018The nonsense recorded its own testimony\u2019: Zukofsky\u2019s&nbsp;<em>\u2018A\u2019<\/em>-24\u201d<\/p>\n\n\n\n<p>Nicholas Sloboda, \u201cNon-sequential Juxtaposition and Indeterminate Narratives: Louis Zukofsky\u2019s Preview of Postmodernism\u201d<\/p>\n\n\n\n<p>Susan Vanderborg, \u201cTransforming the Bottom: Language Games in Louis Zukofsky\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Panel 16B: Charles Reznikoff II<\/p>\n\n\n\n<p>Chair: Steve Shoemaker<\/p>\n\n\n\n<p>Charles Bernstein, \u201cReznikoff\u2019s Nearness\u201d<\/p>\n\n\n\n<p>Rob Franciosi, \u201cBy the Waters of Manhattan Beach: Reznikoff in Hollywood\u201d<\/p>\n\n\n\n<p>Tom Lavazzi, \u201cWalking with Reznikoff\u201d<\/p>\n\n\n\n<p>Milton Hindus, Respondent<\/p>\n\n\n\n<p>Panel 16C: Elizabeth Bishop<\/p>\n\n\n\n<p>Chair: Demetres P. Tryphonopoulos<\/p>\n\n\n\n<p>T. Colson, \u201cElizabeth Bishop\u2019s Postmodernist Negative Capability\u201d<\/p>\n\n\n\n<p>Wendy VerHage Falb, \u201cThe Uncanny as Other in the Poetry of Elizabeth Bishop\u201d<\/p>\n\n\n\n<p>Margaret Dickie, \u201cThe Politics of Elizabeth Bishop\u2019s Polished Forms\u201d<\/p>\n\n\n\n<p>Panel 16D: Lola Ridge<\/p>\n\n\n\n<p>Chair: Elaine Sproat<\/p>\n\n\n\n<p>Penelope Austin, \u201c\u2018We Must Labour to be Beautiful\u2019: Nonmodernist Politics in the Works of Lola Ridge\u201d<\/p>\n\n\n\n<p>Susan V. Facknitz, \u201c\u2018War, Revolution or SONG\u2019: Lola Ridge\u2019s \u2018American Renaissance\u2019\u201d<\/p>\n\n\n\n<p>Mary Ellen LeClair, \u201cLola Ridge: From Modernism to the 1930s\u201d<\/p>\n\n\n\n<p>Panel 16E: Objectivist Perspectives II<\/p>\n\n\n\n<p>Chair: Alan Golding<\/p>\n\n\n\n<p>Rocco Marinaccio, \u201c\u2018Speaking about epics, mother\u2019: Objectivism, the Avant-Garde, and the Politics of Cultural Tradition\u201d<\/p>\n\n\n\n<p>Ken Pottle, \u201cLouis Zukofsky\u2019s Use of Spinoza\u2019s Poetics to Question Santayana\u2019s \u2018Filial Involvements\u2019 with Modernity\u201d<\/p>\n\n\n\n<p>Keith Tuma, \u201cBelatedness, Nationality, and Other Problems of \u201830s Poetry\u201d<\/p>\n\n\n\n<p>Panel 16F: Two West Coast Poets of the 1930s<\/p>\n\n\n\n<p>Chair: Anita Helle<\/p>\n\n\n\n<p>Cynthia Kimball, \u201c\u2018Some Center of Motion\u2019: Rosalie Moore\u2019s \u2018Activist\u2019 Poetry\u201d<\/p>\n\n\n\n<p>Kathleen Lignell, \u201cJosephine Miles and the Mock Lyric\u201d<\/p>\n\n\n\n<p>Lisa M. Steinman, \u201cInclusiveness and Appropriation in Josephine Miles\u2019s&nbsp;<em>Lines at Intersection<\/em>&nbsp;(1939) and&nbsp;<em>Poems on Several Occasions&nbsp;<\/em>(1941)\u201d<\/p>\n\n\n\n<p>Panel 16G: Kenneth Fearing and Others<\/p>\n\n\n\n<p>Chair: T. Jeff Evans<\/p>\n\n\n\n<p>Cynthia Edelberg, \u201cKenneth Fearing, H.D., and William Everson: War Poems Written During the Late 1930s\u201d<\/p>\n\n\n\n<p>Kenneth Rosen, \u201cKenneth Fearing\u2019s \u2018Denoument\u2019: Satire in the City of Self-Pity\u201d<\/p>\n\n\n\n<p>Robert Ryley, \u201cKenneth Fearing and the \u2018Ozymandias\u2019 Problem\u201d<\/p>\n\n\n\n<p>Panel 16H: T.S. Eliot and Others in the 1930s<\/p>\n\n\n\n<p>Chair: Tony Brinkley<\/p>\n\n\n\n<p>Jill Cunningham-Crowther, \u201c\u2018You Talk Too Much, Too Much Leave Out\u2019: Editing&nbsp;<em>The Antiphon<\/em>\u201d<\/p>\n\n\n\n<p>Deirdre Day-MacLeod, \u201cVisits to the Madhouse: Ezra Pound and Charles Olson and Elizabeth Bishop\u201d<\/p>\n\n\n\n<p>Shyamal Bagchee, \u201cEliot\u2019s 1930s American Landscape\u201d<\/p>\n\n\n\n<p><strong>Session #17, Sixth Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Marjorie Perloff<\/p>\n\n\n\n<p>Jerome McGann, \u201cPostmodernisms in Mediation, or&nbsp;<em>Mis<\/em>understanding Poetry\u201d<\/p>\n\n\n\n<p><strong>S<\/strong><strong>ession #18, Poetry Reading<\/strong><\/p>\n\n\n\n<p>Chair: Burt Kimmelman<\/p>\n\n\n\n<p>Armand Schwerner, Michael Heller, Jane Augustine, Norman Finkelstein<\/p>\n\n\n\n<p><strong>Session #19, Seventh Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Carroll F. Terrell<\/p>\n\n\n\n<p>Hugh Kenner, \u201cStar Wars on the Metrical Front\u201d<\/p>\n\n\n\n<p><strong>Session #20A, Poetry Reading<\/strong><\/p>\n\n\n\n<p>Chair: Constance Hunting<\/p>\n\n\n\n<p>Vincent Ferrini and M.L. Rosenthal<\/p>\n\n\n\n<p><strong>Session #20B, Poetry Reading<\/strong><\/p>\n\n\n\n<p>Constance Hunting and Ken Rosen, followed by open reading<\/p>\n\n\n\n<p>Sunday, June 20<\/p>\n\n\n\n<p><strong>Session #21, Panels<\/strong><\/p>\n\n\n\n<p>Panel 21A: Lorine Niedecker III<\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Kim Bernstein, \u201cMonkey Trials and Marsh Fog: Darwin\u2019s Theory of Evolution and the Poetry of Lorine Niedecker\u201d<\/p>\n\n\n\n<p>John Lowney, \u201cPoetry, Property, and Propriety: Lorine Niedecker and the Legacy of the 1930s\u201d<\/p>\n\n\n\n<p>Tandy Sturgeon, \u201c\u2018Nothing in it but my hand\u2019: Niedecker, Writing, and Marital Politics\u201d<\/p>\n\n\n\n<p>Panel 21B: Louis Zukofsky IV<\/p>\n\n\n\n<p>Chair: Joseph Conte<\/p>\n\n\n\n<p>Ming-Qian Ma, \u201cA \u2018no man\u2019s land\u2019! Postmodern Citationality in Zukofsky\u2019s \u2018Poem Beginning \u201cThe\u201d\u2019\u201d<\/p>\n\n\n\n<p>Mark Scroggins, \u201c\u2018The Revolutionary Word\u2019: Political Radicalism and Louis Zukofsky in the \u201830s\u201d<\/p>\n\n\n\n<p>Sandra K. Stanley, \u201cAdams and Zukofsky and the Question of Marx\u201d<\/p>\n\n\n\n<p>Panel 21C: Women Poets in\/of the 1930s<\/p>\n\n\n\n<p>Chair: Sheila Kineke<\/p>\n\n\n\n<p>Kathe Davis, \u201c\u2018Gonna Harden My Heart\u2019: Art as Armor for American Women Poets\u201d<\/p>\n\n\n\n<p>Laura Hamblin, \u201cVision of Earth: Feminist Aesthetics in Louise Bogan\u2019s \u2018Three Songs\u2019\u201d<\/p>\n\n\n\n<p>Elaine Sproat, \u201cModernist and Nonmodernist Tendencies in the Poetry of Lola Ridge\u201d<\/p>\n\n\n\n<p>Panel 21D: Delmore Schwartz and Weldon Kees<\/p>\n\n\n\n<p>Chair: Sylvester Pollet<\/p>\n\n\n\n<p>Jonathan N. Barron, \u201cDeath by Modernism: The Case of Delmore Schwartz\u201d<\/p>\n\n\n\n<p>Robert Niemi, \u201cRobinson Crusoe in New York City: The Dissolution of Identity in Weldon Kees\u2019s Robinson Poems\u201d<\/p>\n\n\n\n<p>David Zucker, \u201cFugues of the Ego: Delmore Schwartz\u2019s Lyric Achievement\u201d<\/p>\n\n\n\n<p>Panel 21E: Wallace Stevens and H.D. in the 1930s<\/p>\n\n\n\n<p>Chair: Mary Bartosenski<\/p>\n\n\n\n<p>Jane Augustine, \u201cH.D. in the \u201830s: Film, Freud, and a Dead Priestess\u201d<\/p>\n\n\n\n<p>Alan Filreis, \u201cWallace Stevens\u2019s&nbsp;<em>Blue Guitar<\/em>&nbsp;and Popular Front Poetics\u201d<\/p>\n\n\n\n<p>Suzanne Young, \u201cPublishing, Psychology, and the Self in H.D.\u2019s&nbsp;<em>Nights<\/em>\u201d<\/p>\n\n\n\n<p>Panel 21F: Hughes and Others: Gender in African-American Poetry of the 1930s<\/p>\n\n\n\n<p>Chair: Murray A. Jackson<\/p>\n\n\n\n<p>Christina DuVernay, \u201cFemale Trouble in Langston Hughes and W.B. Yeats: Madam Alberta and Crazy Jane\u201d<\/p>\n\n\n\n<p>Julie Rambo, \u201cHear Them Speak: Langston Hughes\u2019s Poetic Treatment of Women\u201d<\/p>\n\n\n\n<p>James Smethurst, \u201cThe Strong Men Gittin\u2019 Stronger: Gender and the Construction of the Folk Voice in African-American Poetry of the 1930s\u201d<\/p>\n\n\n\n<p>Panel 21G: Political and Cultural Contexts<\/p>\n\n\n\n<p>Chair: Rita Barnard<\/p>\n\n\n\n<p>Eric Anderson, \u201cThe&nbsp;<em>Krazy Kat&nbsp;<\/em>Inside: Modernism and Cultural Exchange in the Urban Desert\u201d<\/p>\n\n\n\n<p>Elizabeth Davey, \u201c\u2018The Road to the Left\u2019: The Scottsboro Trial and American Poetry in the 1930s\u201d<\/p>\n\n\n\n<p>Alan Golding, \u201cThe Last Pre-Modernist: Whitman in the 1930s\u201d<\/p>\n\n\n\n<p>Panel 21H: Kenneth Patchen and Paul Goodman<\/p>\n\n\n\n<p>Chair: William Lockwood<\/p>\n\n\n\n<p>Ted S. Blake, \u201cKenneth Patchen\u2019s Dark Kingdom\u201d<\/p>\n\n\n\n<p>Mitchell J. Smith, \u201cFrom Before the Brave to \u2018Lonesome Boy Blues\u2019: The Proletarian Roots of Kenneth Patchen\u2019s Jazz Poetry\u201d<\/p>\n\n\n\n<p>George Adams, \u201cPaul Goodman: The Searcher in the City\u201d<\/p>\n\n\n\n<p><strong>Session #22, Eighth Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Constance Hunting<\/p>\n\n\n\n<p>Betsy Erkkila, \u201cElizabeth Bishop, Modernism, and the Left\u201d<\/p>\n\n\n\n<p><strong>Session #23, Panels<\/strong><\/p>\n\n\n\n<p>Panel 23A: Gwendolyn Brooks and Muriel Rukeyser<\/p>\n\n\n\n<p>Chair: Laura Cowan<\/p>\n\n\n\n<p>Anne Dewey, \u201c\u2018For having first to civilize a space\u2019: The Forms of a Black Women\u2019s Tradition in Gwendolyn Brooks\u2019s&nbsp;<em>Annie Allen<\/em>\u201d<\/p>\n\n\n\n<p>Jenny Goodman, \u201cMuriel Rukeyser as Modernist Innovator: The New Combination of Thirties Literary Discourses in \u2018The Book of the Dead\u2019\u201d<\/p>\n\n\n\n<p>Panel 23B: Thomas McGrath<\/p>\n\n\n\n<p>Chair: Cary Nelson<\/p>\n\n\n\n<p>David Pink, \u201cThe Resurrection Man: Thomas McGrath in&nbsp;<em>Letter to an Imaginary Friend<\/em>\u201d<\/p>\n\n\n\n<p>Donald S. Smith, \u201c\u2018Heaven is a sometime thing\u2019: Ideals in the Poetry of Thomas McGrath\u201d<\/p>\n\n\n\n<p>Panel 23C: Alternative Publishing in the 1930s<\/p>\n\n\n\n<p>Chair: Michael Alpert<\/p>\n\n\n\n<p>Adam Muller, \u201cAnticipating Postmodernism: Little Magazines, Small Presses, and the Reconsideration of Language\u201d<\/p>\n\n\n\n<p>Steve Shoemaker, \u201c<em>An \u2018Objectivists\u2019 Anthology<\/em>&nbsp;and the Alternative Publishing Scene\u201d<\/p>\n\n\n\n<p>Panel 23D: Kenneth Rexroth II<\/p>\n\n\n\n<p>Chair: Ed Foster<\/p>\n\n\n\n<p>Christopher Cokinos, \u201cDefenders of the Earth: Robinson Jeffers, Kenneth Rexroth, and the Greening of Modern American Poetry\u201d<\/p>\n\n\n\n<p>Rachelle Katz Lerner, \u201c\u2018Counterblasts\u2019 and \u2018Perpetual Revolution\u2019: Kenneth Rexroth\u2019s Objectives as an American Poet During the 1930s\u201d<\/p>\n\n\n\n<p>Panel 23E: Louis Zukofsky V<\/p>\n\n\n\n<p>Chair: William Howe<\/p>\n\n\n\n<p>P. Michael Campbell, \u201cThe Comedian as the Letter Z: Influence and Effluence in Zukofsky\u2019s Comic Poetry (Reading Zukofsky Reading Stevens Reading Zukofsky)\u201d<\/p>\n\n\n\n<p>Sharon Jo Portnoff, \u201cRelated is Equated: The Holocaust\u2019s Effect on Zukofsky\u2019s Concept of Object\u201d<\/p>\n\n\n\n<p><strong>Session #24, Ninth Plenary Session<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Alan Wald, \u201cExiles from a Future Time: Left-Wing Poets Reconsidered\u201d<\/p>\n<\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Program&nbsp; THURSDAY, JUNE 17 Session #1, First Plenary Session Chair: Burton Hatlen Albert Gelpi, \u201cI Am Your Woman: The Erotic Mysticism of William Everson\u201d Session #2, Panels Panel 2A: Muriel Rukeyser I Chair: Anne Herzog Fran McManus, \u201c\u2018God\u2019s Blood\u2019: Muriel Rukeyser\u2019s Communion of Poetry and Politics\u201d Jane C. Penner, \u201c\u2018A Scene of Power\u2019: Muriel Rukeyser [&hellip;]<\/p>\n","protected":false},"author":2234,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-925","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The First Postmodernists: American Poets of the 1930s Generation - The Center for Poetry and Poetics - University of Maine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/umaine.edu\/poetry\/1930s-conference\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The First Postmodernists: American Poets of the 1930s Generation - The Center for Poetry and Poetics - University of Maine\" \/>\n<meta property=\"og:description\" content=\"Program&nbsp; THURSDAY, JUNE 17 Session #1, First Plenary Session Chair: Burton Hatlen Albert Gelpi, \u201cI Am Your Woman: The Erotic Mysticism of William Everson\u201d Session #2, Panels Panel 2A: Muriel Rukeyser I Chair: Anne Herzog Fran McManus, \u201c\u2018God\u2019s Blood\u2019: Muriel Rukeyser\u2019s Communion of Poetry and Politics\u201d Jane C. 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