{"id":943,"date":"2023-03-23T12:54:48","date_gmt":"2023-03-23T16:54:48","guid":{"rendered":"https:\/\/umaine.edu\/poetry\/?page_id=943"},"modified":"2024-10-09T15:49:11","modified_gmt":"2024-10-09T19:49:11","slug":"1960s-conference","status":"publish","type":"page","link":"https:\/\/umaine.edu\/poetry\/1960s-conference\/","title":{"rendered":"The Opening of the Field: A Conference on North American Poetry in the 1960s"},"content":{"rendered":"<style>.kb-row-layout-id943_daf120-25 > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id943_daf120-25 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id943_daf120-25 > .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-id943_daf120-25 > .kt-row-layout-overlay{opacity:0.30;}@media 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.aligncenter{width:100%;}.kadence-column943_e2b20b-a7 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column943_e2b20b-a7{position:relative;}@media all and (max-width: 1024px){.kadence-column943_e2b20b-a7 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column943_e2b20b-a7 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column943_e2b20b-a7\"><div class=\"kt-inside-inner-col\"><style>.kb-image943_81624e-4a .kb-image-has-overlay:after{opacity:0.3;}<\/style>\n<figure class=\"wp-block-kadence-image kb-image943_81624e-4a size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-683x1024.jpg\" alt=\"A scan of the cover for the conference The Opening of the Field: A Conference on North American Poetry in the 1960s\" class=\"kb-img wp-image-944\" srcset=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-683x1024.jpg 683w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-200x300.jpg 200w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-768x1151.jpg 768w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-93x140.jpg 93w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-317x475.jpg 317w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-423x634.jpg 423w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-634x950.jpg 634w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001-846x1268.jpg 846w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/60s-conf001.jpg 890w\" sizes=\"auto, (max-width: 320px) 85vw, (max-width: 768px) 67vw, (max-width: 1024px) 62vw,683px\" \/><\/figure>\n<\/div><\/div>\n\n\n<style>.kadence-column943_680e51-67 > .kt-inside-inner-col,.kadence-column943_680e51-67 > .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-column943_680e51-67 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column943_680e51-67 > .kt-inside-inner-col{flex-direction:column;}.kadence-column943_680e51-67 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column943_680e51-67 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column943_680e51-67{position:relative;}@media all and (max-width: 1024px){.kadence-column943_680e51-67 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column943_680e51-67 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column943_680e51-67\"><div class=\"kt-inside-inner-col\">\n<h3 class=\"wp-block-heading\">Program<\/h3>\n\n\n\n<p>WEDNESDAY, JUNE 28<\/p>\n\n\n\n<p><strong>Opening Reception and Outdoor Barbecue<\/strong><\/p>\n\n\n\n<p>Greetings from President Peter Hoff, Dean Rebecca Eilers, and Vice Provost Douglas Gelinas<\/p>\n\n\n\n<p><strong>Plenary Session #1<\/strong><\/p>\n\n\n\n<p>Chair: Burton Hatlen<\/p>\n\n\n\n<p>Marjorie Perloff, \u201cWatchman and Spy: O\u2019Hara, Johns, and Cage in the \u2018Cool\u2019 Sixties\u201d<\/p>\n\n\n\n<p>Michael Davidson, \u201cMissing Larry\u201d<\/p>\n\n\n\n<p><strong>Poetry Reading #1: Amiri Baraka<\/strong><\/p>\n\n\n\n<p>Chair: Aldon Nielsen<\/p>\n\n\n\n<p><strong>Poets of the 1960s General Reading #1<\/strong><\/p>\n\n\n\n<p>Chair: Don Wellman<\/p>\n\n\n\n<p>Amiri Baraka, Lorenzo Thomas, Gene Frumkin<\/p>\n\n\n\n<p><strong>Open Reading #1<\/strong><\/p>\n\n\n\n<p>Chair: Mark Rutter<\/p>\n\n\n\n<p>K. Silem Mohammad, Mark McMorris, Jim Dunn, John Landry, and others<\/p>\n\n\n\n<p>THURSDAY, JUNE 29<\/p>\n\n\n\n<p><strong>Panel Session #1<\/strong><\/p>\n\n\n\n<p>Panel 1A: Echoes of the 1930s<\/p>\n\n\n\n<p>Chair: Richard Brucher<\/p>\n\n\n\n<p>Thomas Lisk, \u201cRamon Guthrie as a Modernist Renegade\u201d<\/p>\n\n\n\n<p>Elizabeth Losh, \u201cEpigrams from Another Front: Carl Rakosi\u2019s Americana Poems\u201d<\/p>\n\n\n\n<p>John Lowney, \u201c\u2018A Metamorphic Palimpsest\u2019: the Underground Memory of Thomas McGrath\u2019s Letter to an Imaginary Friend\u201d<\/p>\n\n\n\n<p>Panel 1B: In and Around New York<\/p>\n\n\n\n<p>Chair: Steven Evans<\/p>\n\n\n\n<p>Lytle Shaw, \u201cAiring Pound\u2019s Cubicle: Audience from Citizen to Person\u201d<\/p>\n\n\n\n<p>Christopher Volpe, \u201cThe Unbearable Lightness of Being Avant Garde: Pop Art, the New York School, and Contemporary \u2018Language\u2019 Poetry\u201d<\/p>\n\n\n\n<p>Panel 1C: A Sense of Place<\/p>\n\n\n\n<p>Chair: Laura Cowan<\/p>\n\n\n\n<p>Jonathan Minton, \u201c\u2018A Living Current\u2019: Charles Tomlin\u00adson and the Embodiment of Place\u201d<\/p>\n\n\n\n<p>George Hart, \u201cLarry Eigner, Landscape, Place, and Space\u201d<\/p>\n\n\n\n<p>Burton Hatlen, \u201cA Poetic Geography, a Geo\u00adgraphic Poetics: Theodore Enslin and the Maine Poetry Scene in the 1960s\u201d<\/p>\n\n\n\n<p>Panel 1D. John Ashbery<\/p>\n\n\n\n<p>Chair: Marjorie Perloff<\/p>\n\n\n\n<p>Matthew Richardson, \u201cAshbery\u2019s Writings of the 60s: Surrealism and Citation\u201d<\/p>\n\n\n\n<p>Jacques Debrot, \u201cExact Fantasy: John Ashbery\u2019s The Tennis Court Oath\u201d<\/p>\n\n\n\n<p>Mark Silverberg, \u201cShades of Ella Wheeler Wilcox: Camp, Clich\u00e9, and John Ashbery\u2019s Good Bad Verse\u201d<\/p>\n\n\n\n<p>Panel 1E. Baraka and Others I<\/p>\n\n\n\n<p>Chair: Aldon Nielsen<\/p>\n\n\n\n<p>Richard Quinn, \u201cPursuing Blackness: Amiri Baraka, Albert Ayler, and John Coltrane\u201d<\/p>\n\n\n\n<p>Chris Funkhouser, \u201cLeRoi Jones, Larry Neal, The Cricket and JIHAD: Jazz and Poets\u2019 Black Fire\u201d<\/p>\n\n\n\n<p>Aldon Nielsen, \u201cCrow Jane Approxi\u00admately: Bob Dylan, LeRoi Jones and Big Joe Williams\u201d<\/p>\n\n\n\n<p><strong>Poetry Reading #2: Theodore Enslin<\/strong><\/p>\n\n\n\n<p>Chair: Mark Nowak<\/p>\n\n\n\n<p><strong>Poetry Reading #3: Nathaniel Tarn and Toby Olson<\/strong><\/p>\n\n\n\n<p>Chair: Mark Nowak<\/p>\n\n\n\n<p><strong>Panel Session #2<\/strong><\/p>\n\n\n\n<p>Panel 2A. Louis Zukofsky I<\/p>\n\n\n\n<p>Chair: Kenneth Sherwood<\/p>\n\n\n\n<p>Jonathan Ivry, \u201cArticulating Self-Identity in the Translations of Louis Zukofsky\u201d<\/p>\n\n\n\n<p>Jeffrey Twitchell-Waas, \u201cTurning Verses: Zukofsky and Duncan Translating\u201d<\/p>\n\n\n\n<p>Mark McMorris, \u201cPostcolonial \u2018A\u2019\u201d<\/p>\n\n\n\n<p>Panel 2B. Dickey, Eckman, Snyder<\/p>\n\n\n\n<p>Chair: Paul Bauschatz<\/p>\n\n\n\n<p>Daniel Turner, \u201cThe Savage(d) Ideal: Southern Poetic Primitivism in James Dickey\u2019s \u2018May Day Sermon\u2019\u201d<\/p>\n\n\n\n<p>David Adams, \u201cComing Home: Pivotal Changes in Frederick Eckman\u2019s Poetry\u201d<\/p>\n\n\n\n<p>Luke C. Schlueter, \u201cThe Founding of the Domestic in Gary Snyder\u2019s Regarding Wave\u201d<\/p>\n\n\n\n<p>Panel 2C. From Modern to Postmodern: Brooks, Rukeyser, Rexroth<\/p>\n\n\n\n<p>Chair: Shyamal Bagchee<\/p>\n\n\n\n<p>Jenny Goodman, \u201cGwendolyn Brooks and Muriel Rukeyser in the 1960s: From Modernism to Post\u00admodernism in the Long Poem\u201d<\/p>\n\n\n\n<p>Sophia Tekmitchov, \u201cNo More Masks! No More Mythologies!: Muriel Rukeyser as Innovator and Influence\u201d<\/p>\n\n\n\n<p>Samuel Garren, \u201cThe Influence of Kenneth Rexroth\u2019s Bird in the Bush and Assays on North American Poetry in the 1960s\u201d<\/p>\n\n\n\n<p>Panel 2D. The Politics of Publication<\/p>\n\n\n\n<p>Chair: Dodie Bellamy<\/p>\n\n\n\n<p>Matthew T. Pifer, \u201cThe Underground Press and the Poetry of Resistance in 1960s Detroit\u201d<\/p>\n\n\n\n<p>Nicholas Lawrence, \u201cMimeo Fever: Sixties Small Press within a Global Context\u201d<\/p>\n\n\n\n<p>Linda Russo, \u201cOn Seeing Poetic Production: The Case of Hettie Jones\u201d<\/p>\n\n\n\n<p>Panel 2E. Baraka and Others II<\/p>\n\n\n\n<p>Chair: Aldon Nielsen<\/p>\n\n\n\n<p>Andrew Epstein, \u201c\u2018Against the Speech of Friends\u2019: Amiri Baraka, Individualism, and the Avant-Garde\u201d<\/p>\n\n\n\n<p>Alicia R. Thompson, \u201cAmiri Baraka\u2019s \u2018Am-Tram, Ka \u2019Ba\u2019\u201d<\/p>\n\n\n\n<p>Jonathan Gill, \u201cHistory and Habit: Allen Ginsberg and LeRoi Jones\/Amiri Baraka in the 1960s\u201d<\/p>\n\n\n\n<p>Panel 2F. The New York School<\/p>\n\n\n\n<p>Chair: Kevin Killian<\/p>\n\n\n\n<p>Marjorie Welish, \u201cThe New York School and Metapoetic Lyric\u201d<\/p>\n\n\n\n<p>K. Silem Mohammad, \u201c\u2018Unrelentingly? Huh\u2019: New York School Poetics and the Romance of the Inarticulate\u201d<\/p>\n\n\n\n<p>Tony Lopez, \u201c\u2018Powder on a Little Table\u2019: Berrigan\u2019s Sonnets and 60s Poems\u201d<\/p>\n\n\n\n<p><strong>Panel Session #3<\/strong><\/p>\n\n\n\n<p>Panel 3A. Johnson, Samperi, Bronk<\/p>\n\n\n\n<p>Chair: Peter O\u2019Leary<\/p>\n\n\n\n<p>Patrick Pritchett, \u201cThe Prairie Home Companion, or Location Location Locution: Ronald Johnson and the Liturgy of (Queer) Poetics\u201d<\/p>\n\n\n\n<p>Peter O\u2019Leary, \u201c\u2018The new man is always the spiritual man\u2019: Frank Samperi\u2019s Poetry of Paradise\u201d<\/p>\n\n\n\n<p>Gary Roberts, \u201cBronk\u2019s Chaste Collectivity\u201d<\/p>\n\n\n\n<p>Panel 3B. Identities<\/p>\n\n\n\n<p>Chair: Shyamal Bagchee<\/p>\n\n\n\n<p>George Hartley, \u201cYo Soy Joaquin: Chicano Poetry and Retroactive Identity, 1967\u201d<\/p>\n\n\n\n<p>Donna Hollenberg, \u201c\u2018Black one, incubus\u2019: Sisterhood and Identity Politics in Levertov\u2019s The Sorrow Dance\u201d<\/p>\n\n\n\n<p>Panel 3C. Allen Ginsberg<\/p>\n\n\n\n<p>Chair: John Landry<\/p>\n\n\n\n<p>Sean McDonnell, \u201c\u2018The Key is in the Sunlight\u2019: Bodily Distortion and Visionary Madness in Allen Ginsberg\u2019s Kaddish\u201d<\/p>\n\n\n\n<p>Joshua Clover, \u201cAllen Ginsberg and Bob Dylan\u201d<\/p>\n\n\n\n<p>Panel 3D. Roethke, Ammons, Jarrell<\/p>\n\n\n\n<p>Chair: Karen Alkalay-Gut<\/p>\n\n\n\n<p>Karen Mills-Courts, \u201cThe Gift of Emptiness: Ammons\u2019 Tape for the Turn of the Year and the Diary Genre of the 1960s\u201d<\/p>\n\n\n\n<p>Von Underwood,&nbsp; \u201cIn a Far Field, In a Dark Time: Theodore Roethke\u2019s Uncanny Timeliness in the Mid-1960s\u201d<\/p>\n\n\n\n<p>David Adams, \u201cLost &amp; Found: Thirty-five Years with Randall Jarrell\u2019s The Lost World\u201d<\/p>\n\n\n\n<p>Panel 3E. Poetry and the Visual Arts<\/p>\n\n\n\n<p>Chair: Kevin Killian<\/p>\n\n\n\n<p>Catherine E. Paul, \u201cRituals of Citizenship: Poetic Critique of Museums in the 1960s\u201d<\/p>\n\n\n\n<p>L. A. Phillips, \u201cModern Visual Art and Some Poems by Frank O\u2019Hara\u201d<\/p>\n\n\n\n<p>Alicia Cohen, \u201cVisual Art and the Art of Poetic Vision: The Visible in the Work of Robert Duncan\u201d<\/p>\n\n\n\n<p>Panel 3F. The East Coast Scene<\/p>\n\n\n\n<p>Chair: Laura Cowan<\/p>\n\n\n\n<p>Anthony Libby, \u201cDiane di Prima, \u2018Nothing is Lost; It Shines in Our Eyes\u2019\u201d<\/p>\n\n\n\n<p>Peter Puchek, \u201cDesire and Ideology: Anne Waldman\u2019s Early Poetry\u201d<\/p>\n\n\n\n<p>Kevin McGuirk, \u201cPoetry and \u2018Stupidity\u2019: Beats to Language\u201d<\/p>\n\n\n\n<p><strong>Poetry Reading #4: Keith Waldrop<\/strong><\/p>\n\n\n\n<p>Chair: Steve Evans<\/p>\n\n\n\n<p><strong>Plenary Session #2<\/strong><\/p>\n\n\n\n<p>Chair: Marjorie Perloff<\/p>\n\n\n\n<p>Frank Davey, \u201cRegressive Poetics of the Sixties\u201d<\/p>\n\n\n\n<p>Barrett Watten, \u201cThe Turn to Language after the 1960s\u201d<\/p>\n\n\n\n<p><strong>Poets of the 1960s Generation Reading #2: David Bromige and Frank Davey<\/strong><\/p>\n\n\n\n<p>Chair: George Bowering<\/p>\n\n\n\n<p><strong>Open Reading #2<\/strong><\/p>\n\n\n\n<p>Chair: Sylvester Pollet<\/p>\n\n\n\n<p>Keith Tuma, Dodie Bellamy, Kevin Killian, Tony Lopez, Linda Russo, Arielle Greenberg, Tom Lavazzi, Patrick Pritchett, and others<\/p>\n<\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Program WEDNESDAY, JUNE 28 Opening Reception and Outdoor Barbecue Greetings from President Peter Hoff, Dean Rebecca Eilers, and Vice Provost Douglas Gelinas Plenary Session #1 Chair: Burton Hatlen Marjorie Perloff, \u201cWatchman and Spy: O\u2019Hara, Johns, and Cage in the \u2018Cool\u2019 Sixties\u201d Michael Davidson, \u201cMissing Larry\u201d Poetry Reading #1: Amiri Baraka Chair: Aldon Nielsen Poets of [&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-943","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - 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