{"id":948,"date":"2023-03-23T12:59:29","date_gmt":"2023-03-23T16:59:29","guid":{"rendered":"https:\/\/umaine.edu\/poetry\/?page_id=948"},"modified":"2024-10-09T15:51:40","modified_gmt":"2024-10-09T19:51:40","slug":"1970s-conference","status":"publish","type":"page","link":"https:\/\/umaine.edu\/poetry\/1970s-conference\/","title":{"rendered":"The Poetry of the 1970s"},"content":{"rendered":"<style>.kb-row-layout-id948_9e13c6-b6 > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id948_9e13c6-b6 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id948_9e13c6-b6 > .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-id948_9e13c6-b6 > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 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.aligncenter{width:100%;}.kadence-column948_1bba6e-06 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column948_1bba6e-06{position:relative;}@media all and (max-width: 1024px){.kadence-column948_1bba6e-06 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column948_1bba6e-06 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column948_1bba6e-06\"><div class=\"kt-inside-inner-col\"><style>.kb-image948_8bbf9d-32 .kb-image-has-overlay:after{opacity:0.3;}<\/style>\n<figure class=\"wp-block-kadence-image kb-image948_8bbf9d-32 size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-683x1024.jpg\" alt=\"A scan of the cover for the conference The Poetry of the 1970s\" class=\"kb-img wp-image-949\" srcset=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-683x1024.jpg 683w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-200x300.jpg 200w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-768x1151.jpg 768w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-93x140.jpg 93w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-317x475.jpg 317w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-423x634.jpg 423w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-634x950.jpg 634w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-conf001-846x1268.jpg 846w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/70s-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-column948_5f5980-7d > .kt-inside-inner-col,.kadence-column948_5f5980-7d > .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-column948_5f5980-7d > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column948_5f5980-7d > .kt-inside-inner-col{flex-direction:column;}.kadence-column948_5f5980-7d > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column948_5f5980-7d > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column948_5f5980-7d{position:relative;}@media all and (max-width: 1024px){.kadence-column948_5f5980-7d > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column948_5f5980-7d > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column948_5f5980-7d\"><div class=\"kt-inside-inner-col\">\n<h3 class=\"wp-block-heading\"><strong>In memoriam<\/strong><\/h3>\n\n\n\n<p>Sylvester Pollet<\/p>\n\n\n\n<p>June 28, 1939-December 20, 2007<\/p>\n\n\n\n<p>Associate Editor of the National Poetry Foundation<\/p>\n\n\n\n<p>Burton Hatlen<\/p>\n\n\n\n<p>April 9, 1936-January 21, 2008<\/p>\n\n\n\n<p>Director of the National Poetry Foundation<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Program<\/h3>\n\n\n\n<p>WEDNESDAY, JUNE 11<\/p>\n\n\n\n<p><strong>Reception and Art Opening at Lord Hall Gallery<\/strong><\/p>\n\n\n\n<p>Art exhibition curated by Laurie Hicks<\/p>\n\n\n\n<p>Partial digital reconstruction of Bernadette Mayer\u2019s 1972 \u201cMemory\u201d installation<\/p>\n\n\n\n<p><em>Archival materials courtesy of Bernadette Mayer Papers, Archive for New Poetry, Mandeville Special Collections Library, University of California, San Diego<\/em><\/p>\n\n\n\n<p><strong>Plenary Poetry Reading: Fred Wah<\/strong><\/p>\n\n\n\n<p>Chair: Jennifer Moxley<\/p>\n\n\n\n<p><strong>G<\/strong><strong>roup Reading by Queering the 70s Panelists<\/strong><\/p>\n\n\n\n<p>Chair: Jennifer Moxley<\/p>\n\n\n\n<p>Featuring Dodie Bellamy, Kevin Killian, and Eileen Myles<\/p>\n\n\n\n<p><strong>Open Poetry Readings<\/strong><\/p>\n\n\n\n<p>Chair: Bill Howe<\/p>\n\n\n\n<p>THURSDAY, JUNE 12<\/p>\n\n\n\n<p><strong>Panels<\/strong><\/p>\n\n\n\n<p>01A: Disturbing Language<\/p>\n\n\n\n<p>Marie Buck, \u201c\u2018BIG APPLE PIE is beginning to appear over words that are negative\u2019: Hannah Weiner\u2019s Use of Symptom to Critique the Abstraction of Materiality\u201d<\/p>\n\n\n\n<p>Brad Flis, \u201cOverflow Crowd to Out(side): Neoliberal City-Subjects and the Modular Piece of Ted Greenwald\u201d<\/p>\n\n\n\n<p>Aaron Winslow, \u201cWriting the Object In\/Reading the Subject Out: Representing Labor(ers) in Hejinian\u2019s Writing is an Aid to Memory\u201d<\/p>\n\n\n\n<p>Steven Zultanski, \u201cThe Failure of the Domestic: Bernadette Mayer in the Late \u201970s\u201d<\/p>\n\n\n\n<p>01B: John Ashbery<\/p>\n\n\n\n<p>Gregory Hazleton, \u201cAshbery\u2019s Heterogeneous Thinking about Poetry: Environments of Writing in Three Poems and The Vermont Notebooks\u201d<\/p>\n\n\n\n<p>Ross Leckie, \u201cJohn Ashbery\u201d<\/p>\n\n\n\n<p>Mark Mendoza, \u201cDeprivation and Difficulty: Reading the Ethical Moment in John Ashbery\u2019s Poetry\u201d<\/p>\n\n\n\n<p>01C: John Wieners and Bob Kaufman<\/p>\n\n\n\n<p>Stephen Ellis, \u201cLinkages of Part to Whole: John Wieners and the Capacity to Love\u201d<\/p>\n\n\n\n<p>Thomas Fisher, \u201cBob Kaufman: The \u2018Possible\u2019 of Poetry\u201d<\/p>\n\n\n\n<p>01D: UK Poetries: Peter Redgrove, Barry MacSweeney, Seamus Heaney<\/p>\n\n\n\n<p>James Byrne, \u201cThe Poet-Shaman: Peter Redgrove\u2019s \u2018Dr Faust\u2019s Sea-Spiral Spirit&#8217;\u201d<\/p>\n\n\n\n<p>Jeremy Green, \u201cBarry MacSweeney in the Seventies: Poetics and Aversion\u201d<\/p>\n\n\n\n<p>James Langer, \u201cSeamus Heaney\u2019s Archeological Cosmopolitanism\u201d<\/p>\n\n\n\n<p><strong>Plenary Panel: Black Arts<\/strong><\/p>\n\n\n\n<p>Chair: James Smethurst<\/p>\n\n\n\n<p>Fahamisha Brown, \u201cA New Black Poetics: Lucille Clifton, Black Arts, and Black Feminism\u201d<\/p>\n\n\n\n<p>Grant Matthew Jenkins, \u201cre: Source: African Contexts of Nathaniel Mackey\u2019s Ethics\u201d<\/p>\n\n\n\n<p>Lytle Shaw, \u201cPerforming the Black Arts: Baraka\u2019s Newark\u201d<\/p>\n\n\n\n<p>James Smethurst, \u201c\u2018Return to English Turn\u2019: Tom Dent, the Nkombo Poets, and Black Nationalism in the 1970s\u201d<\/p>\n\n\n\n<p>Jayne Cortez, Respondent<\/p>\n\n\n\n<p><strong>Plenary Panel: No More Masks!<\/strong><\/p>\n\n\n\n<p>Chair: Ellen Smith<\/p>\n\n\n\n<p>Annie Finch, \u201cAnthology of Seeds: No More Masks! and the Reflective Power of Editing\u201d<\/p>\n\n\n\n<p>Judith Johnson, \u201cWhere Was Our Avant-Garde: No More Masks! and Experimental Traditions\u201d<\/p>\n\n\n\n<p>Ellen Smith, \u201c\u2018In jail \/ underground \/ at war\u2019: No More Masks!, Praxis, and Postmodernism\u201d<\/p>\n\n\n\n<p>Florence Howe, Respondent<\/p>\n\n\n\n<p><strong>Panels<\/strong><\/p>\n\n\n\n<p>04A: Feminisms: Alice Notley and Joanne Kyger<\/p>\n\n\n\n<p>Chair: Carla Billitteri<\/p>\n\n\n\n<p>Kimberly Lamm, \u201c\u2018Incidentals in the Day World\u2019: Alice Notley and 1970s Feminism\u201d<\/p>\n\n\n\n<p>Linda Russo, \u201c1970 Summer Bolinas: Buddhism-as-covert-feminism in Joanne Kyger\u2019s Joanne\u201d<\/p>\n\n\n\n<p>04B: Who Can Lift It: Re-Thinking the Long Poem after the Modernist Movement<\/p>\n\n\n\n<p>Justin Parks, \u201cThe (cognitive) \u2018map of locations\u2019: Edward Dorn\u2019s Gunslinger and the Postmodern Epistemology of Place\u201d<\/p>\n\n\n\n<p>Andrew Rippeon, \u201c\u2018Somehow not to be accidental\u2019: On Niedecker, on Creeley, and Forms of Tangential Connection\u201d<\/p>\n\n\n\n<p>Richard Owens, \u201cGlasgow Beast: Ian Hamilton Finlay and The Poetics of Aggressive Gardening\u201d<\/p>\n\n\n\n<p>04C: Ronald Johnson<\/p>\n\n\n\n<p>Joel Bettridge, \u201cRonald Johnson\u2019s Poetic Destiny\u201d<\/p>\n\n\n\n<p>Ross Hair, \u201cA \u2018Mosaic of Cosmos\u2019: ARK\u2019s Bricolage Poetics\u201d<\/p>\n\n\n\n<p>Peter O\u2019Leary, \u201cTalking Cosmos: Influencing Ronald Johnson, Deriving Robert Duncan\u201d<\/p>\n\n\n\n<p>04D: Globalism &amp; Empire: Ammons, Pinsky, and Spahr<\/p>\n\n\n\n<p>Piotr Gwiazda, \u201cCulture Poets: Robert Pinsky, Juliana Spahr\u201d<\/p>\n\n\n\n<p>Susannah Hollister, \u201cA.R. Ammons and the Poetics of the Planet\u201d<\/p>\n\n\n\n<p><strong>Panels<\/strong><\/p>\n\n\n\n<p>05A: Unfamiliarity &amp; Comfort<\/p>\n\n\n\n<p>Stan Apps, \u201cHypnotist-Collectors: The \u2018New Sentence\u2019 in Cage and Silliman\u201d<\/p>\n\n\n\n<p>Michael Clune, \u201cWhatever Charms is Alien: John Ashbery\u2019s Everything\u201d<\/p>\n\n\n\n<p>Aaron Kunin, \u201cBarbara Guest\u2019s Revolutions\u201d<\/p>\n\n\n\n<p>05B: Little Magazines of the 1970s<\/p>\n\n\n\n<p>Barry Alpert: \u201cOn Vort\u201d<\/p>\n\n\n\n<p>Lisa Howe, \u201cAnti-poetic Poetry and Women\u2019s DIY Zines: The Case of Lisa Baumgardner\u2019s Bikini Girl\u201d<\/p>\n\n\n\n<p>Brooks Lampe, \u201c\u2018Please take the lid off my galaxy\u2019: American Surrealism in the Age of Kayak\u201d<\/p>\n\n\n\n<p>05C: Susan Howe<\/p>\n\n\n\n<p>Alicia Cohen, \u201cThe End of Art: Susan Howe in the 1970s\u201d<\/p>\n\n\n\n<p>Elisabeth Joyce, \u201cForce Fields: Susan Howe\u2019s \u2018Cabbage Gardens\u2019 as Third Space\u201d<\/p>\n\n\n\n<p>05D: Ted Berrigan &amp; Anne Waldman<\/p>\n\n\n\n<p>Peter Puchek, \u201cBeat Out of New York: Anne Waldman and the \u2018Centerless Sprawl&#8217;\u201d<\/p>\n\n\n\n<p>Rebecca Weaver, \u201cA Poem of Community: Anne Waldman\u2019s \u2018Billy Work Peyote\u2019 and the Early Years of the Jack Kerouac School of Disembodied Voices\u201d<\/p>\n\n\n\n<p>05E: Erotics, Embodiment, Negation<\/p>\n\n\n\n<p>Chair: Carla Billitteri<\/p>\n\n\n\n<p>Dawn Michelle Baude, \u201cNot Just Randy Animism: The Erotics of \u2018Being\u2019 in the Early Work of Gustaf Sobin\u201d<\/p>\n\n\n\n<p>Malgorzata Myk, \u201cToward a Poetics of the Embodied Outside: Nomadism and Corporeality in Nicole Brossard\u2019s Mecanique Jongleuse\u201d<\/p>\n\n\n\n<p>Sandra Simonds, \u201cLaura Jensen\u2019s Poetics of Negation: Bad Boats as a Response to Robert Bly\u2019s Deep Image\u201d<\/p>\n\n\n\n<p><strong>Plenary Poetry Reading: Bruce Andrews<\/strong><\/p>\n\n\n\n<p>Chair: Benjamin Friedlander<\/p>\n\n\n\n<p><strong>Plenary Poetry Reading: Jayne Cortez<\/strong><\/p>\n\n\n\n<p>Chair: Aldon Nielsen<\/p>\n\n\n\n<p><strong>Special Group Reading: Grand Piano Contributors<\/strong><\/p>\n\n\n\n<p>Featuring Steve Benson, Kit Robinson, and Barrett Watten<\/p>\n\n\n\n<p>Chair: Lytle Shaw<\/p>\n\n\n\n<p><strong>Open Readings<\/strong><\/p>\n\n\n\n<p>Chair: Bill Howe<\/p>\n<\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>In memoriam Sylvester Pollet June 28, 1939-December 20, 2007 Associate Editor of the National Poetry Foundation Burton Hatlen April 9, 1936-January 21, 2008 Director of the National Poetry Foundation Program WEDNESDAY, JUNE 11 Reception and Art Opening at Lord Hall Gallery Art exhibition curated by Laurie Hicks Partial digital reconstruction of Bernadette Mayer\u2019s 1972 \u201cMemory\u201d [&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-948","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - 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