Notes

Introduction: “Congeries of Word and Light”

1. Ronald Johnson to Philip Van Aver, October 3, 1988. Courtesy of Philip Van Aver. Reprinted by permission of the Ronald Johnson Literary Estate.

2. Joan M. Erikson, “Eye to Eye,” in The Man-made Object, ed. Gyorgy Kepes (London: Studio Vista, 1966), 59.

3. Ronald Johnson, The Shrubberies, ed. Peter O’Leary (Chicago: Flood Editions, 2001), 123.

4. Jed Rasula, Syncopations: The Stress of Innovation in Contemporary American Poetry (Tuscaloosa: University of Alabama Press, 2004), 249.

5. Johnson, The Shrubberies, 123. 6. Mark Scroggins, The Poem of a Life: A Biography of Louis Zukofsky (Berkeley:

Shoemaker Hoard, 2007), 425. 7. Cited in Ronald Johnson’s Simple Fare: Rediscovering the Pleasures of Humble

Food (New York and London: Simon and Schuster, 1989), 365. 8. Ronald Johnson, An Anthology of Concrete Poetry, ed. Emmett Williams (New

York: Something Else Press, 1967), 336. 9. Guy Davenport, The Geography of the Imagination (Boston: David R. Godine,

1997), 192.Dirk Stratton, 10. Ronald Johnson, Western Writers Series No.122 (Boise Idaho: Boise State University Press, 1996), 17.

11. By major work I mean Johnson’s larger collections: A Line of Poetry, A Row of Trees (1964); The Book of the Green Man (1967); The Different Musics in Valley of the Many-Colored Grasses (1969); Radi os (1977) and ARK (1980–96).

12. Peter O’Leary, “Quod Vides Scribe In Libro,” in To Do As Adam Did: Selected Poems of Ronald Johnson, ed. Peter O’Leary (Jersey City, New Jersey: Talisman House, 2000), ix.

13. Rasula, Syncopations, 249.14. O’Leary, “Quod Vides Scribe In Libro,” ix.15. Ronald Johnson, “The Planting of the Rod of Aaron,” Northern Lights Studies

in Creativity 2 (1985–86), 4.

206 ● Notes

16. Ronald Johnson to August Derleth, July 24, 1969. Reprinted by permission of the Ronald Johnson Literary Estate.

17. Johnson, The Shrubberies, 124.18. Guy Davenport to Johnson, February 7, 1966. Courtesy of Special Collections,

Spencer Research Library, University of Kansas Libraries. Reprinted by permis-sion of the Guy Davenport Literary Estate.

19. Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media (Chicago and London: The University of Chicago Press, 1991), 56.

20. Guy Davenport to Ronald Johnson, November 26, 1966. Courtesy of Special Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of the Guy Davenport Literary Estate.

21. Eric Murphy Selinger, “ ‘I Composed the Holes’: Reading Ronald Johnson’s Radi Os,” Contemporary Literature 33.1 (1992), 46.

22. Johnson, The Shrubberies, 123–4.23. Johnson, Simple Fare, 365.24. Johnson is one of Finkelstein’s subjects in The Utopian Moment in Contemporary

American Poetry (Lewisburg: Bucknell University Press, 1988), which offers valuable insights into Johnson’s early quoting practices. Selinger’s essay “ ‘I Composed the Holes’: Reading Ronald Johnson’s Radi Os” was the first on Johnson to be published in an academic journal, followed by his 1996 entry on Johnson in the Dictionary of Literary Biography, which is still one of the best introductions to Johnson’s work. Selinger, “Ronald Johnson,” in Dictionary of Literary Biography, Vol. 169: American Poets Since World War II, fifth series, ed. by Joseph Conte (Detroit: Gale, 1996): 146–56. Johnson is one of the sub-jects of Finkelstein’s most recent book, On Mount Vision: Forms of the Sacred in Contemporary American Poetry (Iowa City: University of Iowa Press, 2010).

25. Johnson’s distributed these Xeroxes to a small coterie of readers.26. Ronald Johnson to Jonathan Williams, undated letter. PCMS-019, Jargon

Society Collection, 1950–, The Poetry Collection, University at Buffalo, The State University of New York. Reprinted by permission of the Ronald Johnson Literary Estate.

27. Tim Woods, The Poetics of the Limit: Ethics and Politics in Modern and Contemporary Poetry (Basingstoke: Palgrave Macmillan, 2002), 235.

28. Ezra Pound, Personae: Collected Shorter Poems, ed. Lea Baechler and A. Walton Litz (London: Faber and Faber, 2001), 185.

29. Jonathan Williams, Blackbird Dust: Essays, Poems, and Photographs (New York: Turtle Point Press, 2000), 228.

30. Ibid., 228.31. Christopher Beach, ABC of Influence: Ezra Pound and the Remaking of American Poetic

Tradition (Berkeley, Los Angeles, and London: University of California Press, 1992), 26.32. C. C. Barfoot, “ ‘Some Things I Have Known Up To Now In My Way’: Geoffrey

Grigson and the Benediction of Reality,” in “My Rebellious and Imperfect Eye”: Observing Geoffrey Grigson, ed. C. C. Barfoot and R. M. Healey (Amsterdam and New York: Rodopi, 2002), 37.

Notes ● 207

33. Hugh Kenner, preface to Portrait Photographs, by Jonathan Williams (London: Coracle Press, 1979), n.p.

34. For more on Davenport and Johnson see John Shannon, “What is the Matter,” VORT: Twenty-First Century Previews 3.3 (1976), 100–11; Gus Blaisdell, “Building Poems,” VORT: Twenty-First Century Previews 3.3 (1976), 125–135; and, Andre Furlani, “ ‘Yours Be the Speech’: Ronald Johnson’s Milton and Guy Davenport’s Bashō” (RJ 73–98).

35. Ronald Johnson to Philip Van Aver, May 17, 1968. Courtesy of Philip Van Aver. Reprinted by permission of the Ronald Johnson Literary Estate.

36. Subsequently reprinted in The L=A=N=G=U=A=G=E Book, ed. Bruce Andrews and Charles Bernstein (Carbondale and Edwardsville: Southern Illinois University Press, 1984), 294–5.

37. Sandra Kumamoto Stanley, Louis Zukofsky and the Transformation of American Poetics (Berkeley, Los Angeles, London: University of California Press, 1994), 148.

38. Ibid., 148–9.39. Woods, Poetics of the Limit, 235.40. Ronald Johnson, “L.Z.,” in The L=A=N=G=U=A=G=E Book, ed. Bruce

Andrews and Charles Bernstein (Carbondale and Edwardsville: Southern Illinois University Press, 1984), 294.

41. C.f. William Shakespeare, The Tempest, ed. Virginia Mason Vaughan and Alden T. Vaughan. (London: The Arden Shakespeare, 2001), 126–7.

42. Ronald Johnson, “Hurrah For Euphony: Dedicated to Young Poets,” The Cultural Society ( January 14, 2002), http://cultura lsociety.org.RJ.html.

43. Charles Boer, “Watch Your Step,” Spring 59 (Spring, 1996), 95.44. Ibid., 97.45. Hugh Kenner, The Pound Era (London: Faber and Faber, 1972), 30.46. Bob Perelman, The Marginalization of Poetry: Language Writing and Literary

History (Princeton, New Jersey: Princeton University Press, 1996), 12.47. The No Name, Johnson writes in “Up Till Now,” was “a bar infamous

enough to attract tourists from Europe and New York. Within a year I had to maintain a line at the door. I believe—and Thom Gunn would concur—The No Name, encouraging fantasy, was the farthest-out bar ever” (U 118).

48. Mark Scroggins. Louis Zukofsky and the Poetry of Knowledge (Tuscaloosa and London: University of Alabama Press, 1998), 291.

49. Scroggins, The Poem of a Life, 463.50. Peter Levi Strauss, Poetry Flash The Bay Area’s Poetry Calendar and Review 135

(June 1984), 10. Cited by De Villo Sloan in, “ ‘Crude Mechanical Access’ or ‘Crude Personism’: A Chronicle of One San Francisco Bay Area Poetry War,” Sagetrieb 4 2/3 (Fall & Winter, 1985), 244.

51. Ibid., 241.52. Ibid., 254.

208 ● Notes

53. Ibid., 252.54. Johnson edited Sharpless’s collected poems, Presences of Mind, published by

Gnomon in 1989.55. Jonathan Skinner, in his essay “Upper Limit Tu-Whit: Ronald Johnson’s Field

Guide Poetries,” discusses “ARK 38” in more detail (RJ 402–4).56. Ed Folsom, “Whispering Whitman to the Ears of Others: Ronald Johnson’s

Recipe for Leaves of Grass,” in The Continuing Presence of Walt Whitman: The Life After the Life, ed. Robert K. Martin (Iowa City: University of Iowa Press, 1992), 86.

57. Stratton, Ronald Johnson, 17.58. Michael Davidson, Ghostlier Demarcations: Modern Poetry and the Material

World (Berkeley, Los Angeles, and London: University of California Press, 1997), 12.

59. Rasula, Syncopations, 255.60. Thanks to Peter O’Leary for pointing out to me that this refers to John

Chamberlain, former Black Mountain student and sculptor.61. Stratton, Ronald Johnson, 9.62. John Beardsley, Gardens of Revelation: Environments by Visionary Artists (New

York and London: Abbeville Press, 1995), 7. See also Eric Murphy Selinger’s essay “ARK as Garden of Revelation” which identifies Johnson’s poetry with this vernacular art tradition (RJ 323–42).

63. Beardsley, Gardens of Revelation, 11.64. Charles Olson, The Maximus Poems, ed. George F. Butterick (Berkeley, Los

Angeles, and London: University of California Press, 1984), 111.

1 Johnson’s New Transcendentalism

1. Northrop Frye, Fearful Symmetry: A Study of William Blake (Princeton, New Jersey: Princeton University Press, 1992), 25–6.

2. Dirk Stratton, Ronald Johnson, Western Writers Series No.122 (Boise Idaho: Boise State University Press, 1996), 9.

3. Albert Gelpi, A Coherent Splendor: The American Poetic Renaissance 1910–1950 (Cambridge and New York: Cambridge University Press, 1990), 2.

4. Ronald Johnson, “Hurrah for Euphony: Dedicated to Young Poets,” The Cultural Society (January 14, 2002), http://culturalsociety.org/RJ.html

5. Marjorie Perloff, The Dance of the Intellect: Studies in the Poetry of the Pound Tradition (Cambridge: Cambridge University Press, 1985), 11.

6. H. Daniel Peck, introduction to The Green American Tradition: Essays and Poems for Sherman Paul, ed. H. Daniel Peck (Baton Rouge: Louisiana State University Press, 1989), 2.

7. Paul Rosenfeld, By Way of Art: Criticisms of Music, Literature, Painting, Sculpture and Dance (New York, Coward-McCann, 1928), 302–3.

8. See Peck’s introduction to The Green American Tradition, 7.

Notes ● 209

9. Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley, Los Angeles, and London: University of California Press, 1993), 29.

10. Lee Rust Brown, The Emersonian Museum: Practical Romanticism and the Pursuit of the Whole (Cambridge, Massachusetts, and London: Harvard University Press, 1997), 173.

11. Johnson, “Hurrah For Euphony.”12. Brown, The Emerson Museum, 172–73.13. Johnson, “Hurrah for Euphony.”14. Ronald Johnson to Edward Dahlberg, May 1, 1967, in Johnson’s Dahlberg

Festschrift, 1967. Courtesy of Special Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of the Ronald Johnson Literary Estate.

15. Robert von Hallberg, “Poetry, Politics, and Intellectuals,” in The Cambridge History of American Literature Vol. 8, Poetry and Criticism, 1940–1955, ed. Sacan Berchovitch (Cambridge, UK: Cambridge University Press, 1996), 33.

16. Charles Capper, “ ‘A Little Beyond’: The Problem of the Transcendentalist Movement in American History,” in Transient and Permanent: The Transcendentalist Movement and Its Contexts, ed. Charles Capper and Conrad Edick Wright (Boston: Massachusetts Historical Society, 1999), 21.

17. Paul F. Boller, Jr. American Transcendentalism, 1830–1860: An Intellectual Inquiry (New York: G. P. Putnam’s Sons and Capricorn Books, 1974), xxii.

18. Charles Capper, “ ‘A Little Beyond’: The Problem of the Transcendentalist Movement in American History,” in Transient and Permanent: The Transcendentalist Movement and Its Contexts, ed. Charles Capper and Conrad Edick Wright (Boston: Massachusetts Historical Society, 1999), 19.

19. Ibid., 19.20. Johnson, “Hurrah for Euphony.”21. Ibid.22. Rita Charon “In Memoriam: Elizabeth Sewell,” Literature and Medicine 20.1

(2001), 3.23. C.f. Henry David Thoreau, Walden; or, Life in the Woods, ed. Stephen Fender

(Oxford: Oxford University Press, 1997), 272.24. Stephen Fredman, The Grounding of American Poetry: Charles Olson and the

Emersonian Tradition (Cambridge and New York: Cambridge University Press, 1993), vii.

25. Ibid., vii.26. Lawrence Buell, “Emerson in His Cultural Context,” in Ralph Waldo Emerson:

A Collection of Critical Essays, ed. Lawrence Buell (Englewood Cliffs, New Jersey: Prentice Hall, 1993), 58–59.

27. Conrad Edick Wright, preface to Transient and Permanent: The Transcendentalist Movement and Its Contexts, ed. Charles Capper and Conrad Edick Wright (Boston: Massachusetts Historical Society, 1999), x.

210 ● Notes

28. Walt Whitman, The Complete Poems, ed. Francis Murphy (Harmondsworth: Penguin, 2004), 82.

29. Buell, Literary Transcendentalism, 174.30. Stan Brakhage and Ronald Johnson (with Jim Shedden), “Another Way of

Looking at the Universe” (1997), Chicago Review 47/48, 4/1 (Winter 2001/Spring, 2002), 31.

31. Boller, American Transcendentalism, xx.32. Lawrence Buell, Literary Transcendentalism, 146. According to Buell, “The cen-

tral preoccupation of the movement was the relationship between self and God; compared to this, nature was of secondary importance.” Ibid., 146.

33. Thoreau, A Year in Thoreau’s Journal, 3.34. Eric Murphy Selinger, “Important Pleasures and Others: Michael Palmer,

Ronald Johnson,” Postmodern Culture 4.3 (1994), http://muse.jhu.edu/jour-nals/postmodern_culture/v004/4.3selinger.html

35. Brakhage and Johnson, “ ‘Another Way of Looking at the Universe,’ ” 33.36. Buell, Literary Transcendentalism, 149.37. James Hillman, The Thought of the Heart and The Soul of the World (Woodstock,

Connecticut: Spring Publications, 1997), 43–4.38. Kenneth W. Rhoads, “Thoreau: The Ear and the Music,” American Literature

46 (Nov, 1974), 324.39. Antoine Faivre, Theosophy, Imagination, Tradition: Studies in Western Esotericism,

trans. Christine Rhone (Albany: State University of New York Press, 2000), xiv.

40. Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (London and New York: Routledge, 2004), 19.

41. Attracted by his understanding of mythology as “an instrument of inquiry” Sewell explains that Pico della Mirandola in his Dignitate Hominis, endeav-oured “to show how mythology, Christian theology, and natural philosophy could be regarded as a unity” (OV 64–65).

42. Jacob Boehme, The Signature of All Things and Other Writings, trans. John Ellinstone (Cambridge: James Clark & Co., 1981), 9.

43. Ibid., 12.44. Ibid., 10.45. See Eric Murphy Selinger, “ ‘I Composed the Holes’: Reading Ronald Johnson’s

Radi os,” Contemporary Literature, 33.1 (Spring, 1992), 53–4.46. Ronald Johnson to Ian Hamilton Finlay, April 15, 1967. Courtesy Lilly Library,

Indiana University, Bloomington, Indiana. Reprinted by permission of the Ronald Johnson Literary Estate. Osman quotes from Finlay’s side of this cor-respondence in “Paronomastic Migrations” (RJ 237).

47. Johnson to Finlay, February 13, 1967. Courtesy Lilly Library, Indiana University, Bloomington, Indiana. Reprinted by permission of the Ronald Johnson Literary Estate.

48. Johnson to Finlay, April 15, 1967.49. See W. B. Yeats, “Mona Lisa,” in The Oxford Book of Modern Verse 1892–1935,

ed. W. B. Yeats (London: Oxford University Press, 1952), 1.

Notes ● 211

50. Jerome McGann, Black Riders: The Visible Language of Modernism (Princeton, New Jersey: Princeton University Press, 1993), 83.

51. Johnson’s use of the term “Spires” in ARK carries something of the mean-ing of “conspires” too. Although principally suggesting architectural spires or the organic shoots and stems of plants (the grass spires of Whitman’s Leaves of Grass, perhaps), ARK ’s “Spires” also propose breath as an agency of creation.

52. Charles Olson, Collected Prose, ed. Donald Allen and Benjamin Friedlander (Berkeley, Los Angeles, and London: University of California Press, 1997), 242. See also Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound (San Francisco, City Lights), 14–5.

53. Thoreau, A Year in Thoreau’s Journal, 147.54. Johnson and Stan Brakhage (with Jim Shedden), “Another Way of Looking at

the Universe,” 31.

2 Luminous Detail: Ezra Pound and Collage

1. Ronald Johnson, “Persistent Light on the Inviolably Forever Other,” Margins 13 (August-September, 1974), 14.

2. Pierre Joris, A Nomad Poetics: Essays (Middletown, Connecticut: Wesleyan University Press, 2003), 88.

3. For Johnson’s assessment of Bunting see his essay, “Take a Chisel to Write: Key to Briggflatts” in Sagetrieb 14.4 (Winter 1995), 7–17, and “A Flag for Bunting,” in Conjunctions 8 (1985), 197.

4. David Antin, “Modernism and Postmodernism: Approaching the Present in American Poetry,” Boundary 2 1.1 (Autumn, 1972), 120–1.

5. Cid Corman, “Paul,” Six Pack 7/8 (Spring / Summer, 1974), 106. 6. Christopher Beach, ABC of Influence: Ezra Pound and the Remaking of American

Poetic Tradition (Berkeley, Los Angeles, and London: University of California Press, 1992), 1.

7. Jonathan Williams, Blackbird Dust: Essays, Poems, and Photographs (New York: Turtle Point Press, 2000), 228.

8. John Shannon, introduction to “Guy Davenport: A Symposium,” ed. John Shannon, Margins 13 (August-September, 1974), 4.

9. Guy Davenport to Ronald Johnson, February 7, 1966. Courtesy of Special Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of the Guy Davenport Literary Estate. Andre Furlani notes the intellectual rapport between Davenport and Kenner in Guy Davenport: Postmodern and After (Evanston, Illinois: Northwestern University Press, 2007), 25, n.1.

10. Ronald Johnson, “Hurrah For Euphony: Dedicated to Young Poets,” The Cultural Society (January 14, 2002), http://culturalsociety.org/RJ.html

11. Ronald Johnson, “The Planting of the Rod of Aaron,” Northern Lights Studies in Creativity 2 (1985–86), 3–4.

212 ● Notes

11. Kenner wrote two books on Fuller: Bucky: A Guided Tour of Buckminster Fuller (1973) and Geodesic Math and How to Use It (1976). In 1962 Jargon published Fuller’s book of poetry, An Untitled Epic Poem on the History of Industrialization.

12. David Fite, “Kenner/Bloom: Canonmaking and the Resources of Rhetoric,” Boundary 2 15.3 (Spring-Autumn, 1988), 118.

13. Hugh Kenner, The Pound Era (London: Faber and Faber, 1972), 145.14. Ibid., 153.15. Fite, “Kenner/Bloom,” 118.16. Stanley Cavell, The Senses of Walden (Chicago and London: The University of

Chicago Press, 1992), 75.17. Ezra Pound, Literary Essays, ed. T. S. Eliot (London: Faber and Faber,

1960), 4.18. According to Ronald Bush, “no programmatic use of the term ‘ideogram’ or

‘ideograph’ appears until 1927.” Ronald Bush, The Genesis of Ezra Pound’s Cantos (Princeton, New Jersey: Princeton University Press, 1976), 10.

19. Ibid., 11.20. Bruce Comens, Apocalypse and After: Modern Strategy and Postmodern Tactics

in Pound, Williams, and Zukofsky (Tuscaloosa and London: The University of Alabama Press, 1995), 60.

21. Hugh Kenner, The Pound Era, 325.22. Ezra Pound, Guide to Kulchur (London: Peter Owen, 1966), 51, 58.23. Kenner, The Pound Era, 434.24. Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed.

Ezra Pound (San Francisco: City Lights Books, 1991), 3.25. Ibid., 9–10.26. Ibid., 10.27. Ibid., 10.28. Ibid., 22.29. Kenner, The Pound Era, 92, 343.30. Pound, Guide to Kulchur, 27.31. Jean-Michel Rabaté, Language, Sexuality and Ideology in Ezra Pound’s Cantos

(Albany: State University of New York Press, 1986), 32.32. Joseph Conte, “The Smooth and the Striated: Compositional Texture in the

Modern Long Poem,” Modern Language Studies 27.2 (Spring, 1997), 59.33. George Dekker, Sailing After Knowledge: The Cantos of Ezra Pound (London:

Routledge & Kegan Paul, 1963), 132.34. Anthony Mellors, Late Modernist Poetics: From Pound to Prynne (Manchester

and New York: Manchester University Press, 2005), 67.35. Guy Davenport, The Geography of the Imagination. (Boston: David R. Godine,

1997), 174.36. Robert Duncan, A Selected Prose, ed. Robert J. Bertholf (New York: New

Directions, 1995), 93.37. Ezra Pound, ABC of Reading (London. Faber and Faber, 1961), 26.38. Pound, Literary Essays, 5.

Notes ● 213

39. Hugh Kenner, The Pound Era, 325.40. Lawrence S. Rainey, Ezra Pound and the Monument of Culture: Text, History,

and the Malatesta Cantos (Chicago and London: The Chicago University Press, 1991), 4.

41. T.S. Eliot, Collected Poems 1909–1962 (London: Faber and Faber, 1974), 79.42. James Longenbach, Modernist Poetics of History: Pound, Eliot and the Sense of the

Past (Princeton: New Jersey: Princeton University Press, 1987), 143.43. Ibid., 142–143.44. Bob Perelman, The Trouble With Genius: Reading Joyce, Pound, Stein, and

Zukofsky (Berkeley, Los Angeles, and London: University of California Press, 1994), 44.

45. Longenbach, Modernist Poetics, 43.46. See Carroll F. Terrell, A Companion to The Cantos of Ezra Pound (Berkeley, Los

Angeles, and London: University of California Press, 1993), 57.47. Michael Andre Bernstein, “Making Modernist Masterpieces,” Modernism/

Modernity 5.3 (1998), 3.48. Davenport, Geography, 151.49. John Dewey, Art as Experience (New York: Perigee Books, 2009), 60.50. Ibid., 61.51. Ming-Qian Ma “A ‘No Man’s Land!’: Postmodern Citationality in

Zukofsky’s “Poem Beginning ‘The,”’” in Mark Scroggins, ed. Upper Limit Music: The Writing of Louis Zukofsky (Tuscaloosa: University of Alabama Press, 1997), 132.

52. Jerome Rothenberg, “Pre-face,” in Jerome Rothenberg, ed. Revolution of the Word: A New Gathering of American Avant-Garde Poetry 1914–1945 (Boston, MA: Exact Change, 1974), xvii.

53. Ibid., xvii.54. Peter Riley “Quotation: ‘It Don’t Mean A Thing,’ ” Jacket 32 (April 2007),

http://jacketmagazine.com/32/k-riley.shtml55. Pound, ABC of Reading, 46.56. Ronald Johnson, undated letter. Reprinted by permission of the Ronald Johnson

Literary Estate.

3 Visual Integrity in The Book of the Green Man

1. Harold Bloom to Ronald Johnson, August 8, 1968. Courtesy of Special Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of Harold Bloom.

2. Johnson uses parts of “Samuel Palmer: The Characters of Fire” in the conclud-ing poem in The Book of the Green Man (BG 80–81).

3. George Hart identifies a similar schema, proposing that each season in the poem has a specific genius loci; locus; mode; symbol; process; and product (RJ 174). Hart, however, does not recognize birds as part of this schema. And, instead of pathetic fallacy, Hart identifies the mode of Spring as travel writing.

214 ● Notes

4. John Ruskin, Selected Writings, ed. Diana Birch (Oxford: Oxford University Press, 2004), 71.

5. Ibid., 71. 6. Ibid., 73–4. 7. Ronald Johnson to Guy Davenport, “February 26th Van! Dale! Yah!” Reprinted

by permission of The Ronald Johnson Literary Estate. 8. Ibid. 9. Samuel Palmer, The Parting Light: Selected Writings, ed. Mark Abley

(Manchester: Carcanet Press, 1985), 28. Blake was a major influence on Palmer and fellow painters Edward Calvert and George Richmond. All three were part of a circle of artists called “The Ancients.”

10. Ronald Johnson to Guy Davenport, “February 26th Van! Dale! Yah!” Reprinted by permission of The Ronald Johnson Literary Estate.

11. Ibid.12. Norman Finkelstein, The Utopian Moment in Contemporary American Poetry

(Lewisburg, London, and Toronto: Bucknell University Press and Associated University Presses, 1993), 96.

13. Ronald Johnson to August Derleth July 24, 1969. Reprinted by permission of the Ronald Literary Estate.

14. William Shakespeare, The Tempest, ed. Virginia Mason Vaughan and Alden T. Vaughan (London: Arden Shakespeare, 2001), 275.

15. C. C. Barfoot and R. M. Healey, introduction to “My Rebellious and Imperfect Eye”: Observing Geoffrey Grigson, ed. C. C. Barfoot and R. M. Healey (Amsterdam and New York: Rodopi, 2002), 2.

16. Ibid., 3.17. Geoffrey Grigson, The Private Art: A Poetry Notebook (London: Allison and

Busby, 1982), 153.18. Seamus Perry, “ ‘The Grandeur of the Actual’: Grigson, ‘Negative Capability,’

and Romantic Sensibility,” in “My Rebellious and Imperfect Eye”, 135.19. Steve McCaffery, “Synchronicity, Ronald Johnson and the Migratory Phase,”

VORT: Twenty-First Century Previews 3.3 (1976), 113.20. Denise Levertov to Ronald Johnson, August 1965. Courtesy of Special

Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of Paul A. Lacey, trustee of the Denise Levertov Literary Trust.

21. For some readers, the notes are too pompous. William Harmon, for example, criticizes Johnson’s notes as “homiletic Eliotizing.” William Harmon, “The Poetry of a Journal at the End of an Arbor in a Watch,” Parnassus 9 (Spring/Summer, 1981), 229. Finkelstein is more diplomatic in his assessment of Johnson’s references: “Johnson has no qualms about displaying his erudition, and at his weakest (like his precursors) he is something of an ink-horn poet, a passionately pedantic collector and name dropper.” Finkelstein, The Utopian Moment, 96.

22. Denise Levertov, proposal to Norton for the publication of The Book of the Green Man, quoting Johnson’s letter, September 1965. Courtesy of Special

Notes ● 215

Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of Paul A. Lacey, trustee of the Denise Levertov Literary Trust.

23. Taking Thoreau’s fertile Ohio soil and Whitman’s poem “This Compost” as leads, Jed Rasula coins the terms “compost library” and “compost poetry” to describe what he sees as an organic and ecologically minded mode of intertex-tuality characterizing a large portion of twentieth-century American poetry. “In the compost library books have a way of collapsing into each other,” Rasula proposes, “not in the improvements of more ‘authoritative’ editions or versions, but by constant recycling.” Jed Rasula, This Compost: Ecological Imperatives in American Poetry (Athens and London: University of Georgia Press, 2002), 17.

24. Jeremy Hooker, “Geoffrey Grigson—English Writer,” “My Rebellious and Imperfect Eye,” 32.

25. Geoffrey Grigson, The Shell Country Alphabet (Frome and London: Michael Joseph, 1966), 9.

26. Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, Massachusetts and London, England: MIT Press, 1998), 6.

27. Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture (Cambridge, Massachusetts and London, England: MIT Press, 1999), 2, 4.

28. Jonathan Williams, Blackbird Dust: Essays, Poems, and Photographs (New York: Turtle Point Press, 2000), 229–30.

29. According to Peter O’Leary, only one of Johnson’s journals still exists, although it is likely that he kept more. Some of the pages from one journal are reproduced in The Light and Dust Anthology of Poetry, which also reproduces the entire text of The Book of the Green Man: http://www.thing.net/~grist/ld/rjohnson/rj-gm-1.htm

30. Ronald Johnson, “Notebooks for Ronald Johnson’s The Book of the Green Man,” Light and Dust Anthology of Poetry (2001), http://www.thing.net/~grist/ld/rjohnson/rj-nt1.htm.

31. Ibid., http://www.thing.net/~grist/ld/rjohnson/rj-nt3.htm.32. Ibid., http://www.thing.net/~grist/ld/rjohnson/rj-nt2.htm; http://www.thing.

net/~grist/ld/rjohnson/rj-nt3.htm.33. Ronald Johnson to Guy Davenport, “February 26th Van! Dale! Yah!” Reprinted

by permission of the Ronald Johnson Literary Estate.34. “It seemed simple,” Johnson writes in his essay on Davenport, “for Blake to sug-

gest to Samuel Palmer that all one must do is ‘work the thing up to Vision.’ But Time needed the time to see with the physical eye before trusting fully what the mind makes is reality.” Johnson, “Persistent Light on the Inviolably Forever Other,” Margins 13 (Aug–Sep 1974), 13.

35. Ronald Johnson, “The Planting of the Rod of Aaron,” Northern Lights Studies in Creativity 2 (1985–6), 1.

36. Harold Bloom, The Visionary Company: A Reading of English Romantic Poetry (Ithaca: Cornell University Press, 1971).

216 ● Notes

37. Meena Alexander, Women in Romanticism: Mary Wollstonecraft, Dorothy Wordsworth and Mary Shelley (Basingstoke: Macmillan, 1989), 80.

38. Grigson, The Shell Country Alphabet, 380–1.39. Agnes Arber, The Mind and the Eye: A Study of the Biologist’s Standpoint

(Cambridge: Cambridge University Press, 1964), 119.40. Grigson, The Shell Country Alphabet, 381.41. See William Shakespeare, A Midsummer Night’s Dream, ed. Harold F. Brooks

(London: Arden Shakespeare, 2001), 28–9.42. Peter Warlock, A Book of Songs (Oxford: Oxford University Press,

n.d.), 28.43. See John Gerard, Gerard’s Herbals: The History of Plants, ed. Marcus Woodward

(London: Senate, 1994), 42, 44, 135, 253, 274.44. McCaffery, “Synchronicity, Ronald Johnson and the Migratory Phase,” 114.45. Ibid., 114.46. Shakespeare, A Midsummer Night’s Dream, 28.47. “Sweet-briar” is a species of rose (rosa rubiginosa, rosa eglanteria) whose autumn

hips provide birds with food in the winter months. As a summer visitor to the British Isles, this is not something that the cuckoo would eat. Thus, Truth gives way to Calliope in the interests of Johnson’s poem.

48. Jonathan Williams, The Magpie’s Bagpipe: Selected Essays, ed. Thomas Meyer (San Francisco: North Point Press, 1982), 106.

49. McCaffery, “Synchronicity, Ronald Johnson and the Migratory Phase,” 114.50. Denise Levertov to Ronald Johnson, August 1965. Courtesy of Special

Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of Paul A. Lacey, trustee of the Denise Levertov Literary Trust.

51. Ibid.52. McCaffery, “Synchronicity, Ronald Johnson and the Migratory Phase,” 113.53. Ibid., 113.54. Robert Duncan, The Opening of the Field (New York: New Directions,

1960), 64.55. In his interview with Michael Andre Bernstein and Burton Hatlen, Duncan

claims his “complicated syntax comes from an over-articulation, an over-cod-ing of the syntax.” Robert Duncan in interview Michael Andre Bernstein and Burton Hatlen, Sagetrieb 4. 2/3 (Fall and Winter, 1985), 97.

56. See A. H. Palmer, The Life and Letters of Samue1 Palmer Painter and Etcher (London: Seeley and Co., 1892), 113.

57. H.D., Collected Poems 1912–1944, ed. Louis L. Martz (New York: New Directions, 1986), 548–9.

58. Johnson may also be referring to other paintings by Palmer that have dilapi-dated farm buildings as their subjects: A Barn With a Mossy Roof, c. 1828–9 and A Cow-lodge with a Mossy Roof, c. 1828–29.

59. T. S. Eliot, Collected Poems 1909–1962 (London: Faber and Faber, 1974), 76.

Notes ● 217

4 Johnson’s Different Musics

1. Raymond Isidore, translated by Ronald Johnson. Reprinted by permission of the Ronald Johnson Literary Estate.

2. Ronald Johnson, Arches notebook, c. 1986. Reprinted by permission of the Ronald Johnson Literary Estate.

3. Guy Davenport, The Geography of the Imagination (Boston: Nonpareil Books, 1997), 276.

4. Ibid., 276. 5. Ronald Johnson, “Persistent Light on the Inviolably Forever Other,” Margins 13

(August–September, 1974), 13. 6. David Michael Hertz, Angels of Reality: Emersonian Unfoldings in Wright,

Stevens, and Ives (Carbondale and Edwardsville: Southern Illinois University Press, 1993), 95.

7. J. Peter Burkholder, All Made of Tunes: Charles Ives and the Uses of Musical Borrowing (New Haven and London: Yale University Press, 1995), 425.

8. Ibid., 3. 9. Ibid., 413.10. Charles E. Ives, Memos, ed. John Kirkpatrick (London: Calder & Boyars,

1973), 87.11. Charles Ives, cited in Philip Lambert, The Music of Charles Ives (New Haven

and London: Yale University Press, 1997), 187.12. Ives, Memos, 106. Ives also saw the piece as having four sections. In addition to

a prelude of percussion, Ives lists these as: “I. [Section A] (Past) Formation of the waters and mountains. / II. [Section B] (Present) Earth, evolution in nature and humanity. / III [Section C] (Future) Heaven, the rise of all to the spiritual.” Ibid., 106.

13. Michael Davidson, Ghostlier Demarcations: Modern Poetry and the Material World (Berkeley, Los Angeles, and London: University of California Press, 1997), 94.

14. Robert Duncan, Bending the Bow (New York: New Directions, 1968), 48.15. Davidson, Ghostlier Demarcations, 108.16. Ed Folsom, “Whispering Whitman to the Ears of Others: Ronald Johnson’s

Recipe for Leaves of Grass,” in The Continuing Presence of Walt Whitman: The Life After the Life, ed. Robert K. Martin (Iowa City: University of Iowa Press, 1992), 85.

17. Ives, Memos, 106.18. Charles Ives, Essays Before a Sonata and Other Writings, ed. Howard Boatwright

(London: Calder & Boyars, 1969), 22.19. Rosalie Sandra Perry, Charles Ives and the American Mind (Kent, Ohio: Kent

State University Press, 1976), 30.20. Ibid., 30.21. Robert Duncan, The Opening of the Field (New York: New Directions,

1973), 8.

218 ● Notes

22. “Maximus calld us to dance the Man,” Duncan writes. Ibid., 9. Olson dedi-cates The Maximus Poems to Robert Creeley, “the Figure of Outward.” Charles Olson, The Maximus Poems, ed. George F. Butterick (Berkeley, Los Angeles, and London: University of California Press, 1983), 4.

23. Duncan, The Opening of the Field, 8.24. Duncan refers to his ideogram in “The Fire” as “a dawn-of-man-scene.” Robert

Duncan, Fictive Certainties (New York: New Directions, 1985), 33.25. Henry David Thoreau, Walden; or, Life in the Woods, ed. Stephen Fender

(Oxford: Oxford University Press, 1997), 297.26. Davenport, Geography, 276.27. J. Peter Burkholder, Charles Ives: The Ideas Behind the Music (New Haven and

London: Yale University Press, 1985), 26.28. Ibid., 108–9.29. Ibid., 109.30. Paul F. Boller, Jr. American Transcendentalism, 1830–1860: An Intellectual

Inquiry. New York: G. P. Putnam’s Sons / Capricorn Books, 1974), 89.31. Donald E. Pease, Visionary Compacts: American Renaissance Writings in Cultural

Context (Madison, Wisconsin: The University of Wisconsin Press, 1987), 203–204.

32. Lawrence Buell, “Emerson in His Cultural Context,” in Ralph Waldo Emerson: A Collection of Critical Essays, ed. Lawrence Buell (Englewood Cliffs, New Jersey: Prentice Hall, 1993), 52.

33. Ibid., 58.34. Burkholder, All Made of Tunes, 422.35. Ibid., 423.36. Eric Salzman, Twentieth Century Music: An Introduction (Englewood Cliffs,

New Jersey: Prentice Hall, 1988), 134.37. J. Peter Burkholder, “Ives and Nineteenth-Century European Tradition,”

in Charles Ives and the Classical Tradition, ed. Geoffrey Block and J. Peter Burkholder (New Haven and London: Yale University Press, 1996), 11.

38. Ibid., 15.39. Charles Ives, Essays Before a Sonata and Other Writings, ed. Howard Boatwright

(London: Calder & Boyars, 1969), 18.40. Ibid., 80.41. Ibid., 81.42. Ibid., 80–1.43. Ibid., 81.44. Ibid., 21.45. Davenport, Geography, 276.46. John Beardsley, Gardens of Revelation: Environment by Visionary Artists (New

York and London: Abbeville Press Publishers, 2003), 163.47. Lawrence Buell, “Transcendentalist Literary Legacies,” in Transient and

Permanent: The Transcendentalist Movement and Its Contexts, ed. Charles Capper and Conrad Edick Wright (Boston: Massachusetts Historical Society, 1999), 613. “This educational disadvantage is perhaps artificial,” John Beardsley

Notes ● 219

proposes, “we all learn from somewhere. But to my mind, there is an important distinction between learning in the academy and learning on the street—or in the woods. In the latter case one is surely more innocent of rules.” Gardens of Revelation, 11.

48. Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, Techniques (Philadelphia, New York, London: Chilton Book Company, 1967), 5.

49. Ibid., 3–4.50. Johnson owned a number of memory jugs and describes one of them in an

unpublished autobiographical piece entitled, “If I Die Before I Awake”: “Passed down in the family is a ‘putty jug’ sitting proudly on my desk. No one seems to remember these keepsakes now. One simply saved up beads, buttons, pins, brooches, dolls’ eyes, foreign coins, seashells, and what-not small mementoes and stuck them jigsaw into a putty covered whiskey jug. Some of these trea-sured jugs are more eloquent of the past than Alexander Pope’s grotto.” Ronald Johnson, “If I Die Before I Awake” (typescript). Reprinted by permission of the Ronald Johnson Literary Estate.

51. Ronald Johnson, The Spirit Walks, The Rocks Will Talk: Eccentric Translations of Two Eccentrics (New York: Jargon, 1969), n.p. All subsequent references refer this edition.

52. Tutara 10 (Summer 1973), 2–9. FlashPoint 6 (Winter 2004), http://www.flash-pointmag.com/sprtwalk.htm

53. Barbara Jones, Follies and Grottoes (London: Constable: 1974), 1.54. Ferdinand Cheval, translated by Ronald Johnson. Reprinted by permission of

the Ronald Johnson Literary Estate.55. Ibid.56. Raymond Isidore, translated by Ronald Johnson. Reprinted by permission of

the Ronald Johnson Literary Estate.57. Johnson tells Alpert that he “translated their complete works and then pieced

fragments of them together to make the poems” (RJ 553). The translations exist in two typescript drafts.

58. Raymond Isidore, translated by Ronald Johnson. Reprinted by permission of the Ronald Johnson Literary Estate.

59. William Blake, The Complete Poetry and Prose, ed. David V. Erdman (Berkeley and Los Angeles: University of California Press, 1982), 153.

60. Ibid., 2.61. Dirk Stratton, Ronald Johnson, Western Writers Series No.122 (Boise Idaho:

Boise State University Press, 1996), 28.62. “I found my inspiration upon finally visiting Simon Rodia’s Watts Towers.”

Johnson writes in “Up Till Now.” “I knew from photographs the major towers and some of mosaic work, but I was not prepared for the majesty of the actual [. . .] The walls surrounding the spires were a bricolage of broken tiles, colored glass and mirror, broken crockery set in a mosaic arch after arch, and intricate clash in patterns like a Persian carpet” (U 121).

63. See Guy Davenport to Ronald Johnson, “Beethoven 1972” and Guy Davenport to Ronald Johnson, June 9, 1978. Courtesy of Special Collections, Spencer

220 ● Notes

Research Library, University of Kansas Libraries. Reprinted by permission of the Guy Davenport Literary Estate.

64. Ronald Johnson, ARK 50: Spires 34–50 (New York: E. P. Dutton, 1984), 56.65. “Wor(l)ds 24, (for Robert Duncan)” was published in the Robert Duncan

issue of MAPS 6 in 1974, 68–69. “Wor(l)ds 22, Charles Ives: Two Eyes, Two Ears” was published in Parnassus: Poetry in Review 3.2 (Spring/Summer, 1975), 345–9.

66. Ibid., 345.67. Ibid., 348.68. Ronald Johnson to Andrew Hoyem, October 13, 1970. Courtesy of Philip Van

Aver. Reprinted by permission of the Ronald Johnson Literary Estate.69. Robert P. Morgan, “Ives and Mahler: Mutual Responses at the End of an Era,”

19th-Century Music 2.1 (July, 1978), 73.70. Ronald Johnson, To Do As Adam Did: Selected Poems, ed. Peter O’Leary (Jersey

City, New Jersey: Talisman House, 2000) 65.71. Ibid., 67.72. Jonathan Williams, The Magpie’s Bagpipe, ed. Thomas Meyer (San Francisco:

North Point Press, 1982), 67.73. Johnson, To Do As Adam Did, 65.74. Ibid., 69.75. Ronald Johnson, ARK: The Foundations (San Francisco: North Point Press,

1980).76. All these endorsements appear on the rear dust jacket of ARK: The

Foundations.77. Duncan’s blurb is printed on the front inner flap of the book’s dust jacket.78. William Shakespeare, The Tempest, ed. Virginia Mason Vaughan and Alden T.

Vaughan (London: The Arden Shakespeare, 2001), 150.79. Ibid., 240.80. Harry Partch, Bitter Music: Collected Journals, Essays, Introductions, and

Librettos, ed. Thomas McGeary (Urbana, Illinois: University of Illinois Press, 2000), 310. Incidentally, one of the movements from Partch’s Revelation in the Court House Park—that Johnson saw performed in Washington D.C., April, 1961 (V 65)—is entitled “These Good Old Fashioned Thrills—Fireworks Ritual” and includes a refrain, “heavenly daze,” which would not be out of place in a Johnson poem. Ibid., 357.

81. Beardsley, Gardens of Revelation, 21.82. Erika Dross, “Wandering the Old Weird America: Poetic Musings and

Pilgrimage Perspectives on Vernacular Art Environments,” in Sublime Spaces and Visionary Worlds: Built Environments of Vernacular Artists, ed. Leslie Umberger, (New York and Sheboygan, Wisconsin: Princeton Architectural Press and John Michael Kohler Arts Center, 2008), 29–31.

83. Ibid., 32.84. C. G. Jung. Memories, Dreams, Reflections, ed. Aniela Jaffé, trans. Richard and

Clara Winston (London: Collins and Routledge & Kegan Paul, 1963), 214.85. Ibid., 213.

Notes ● 221

86. Ibid., 214.87. Stanley Cavell, In Quest of the Ordinary: Lines of Skepticism and Romanticism

(Chicago and London: University of Chicago Press, 1988), 171.88. Roger Cardinal, Outsider Art (London: Studio Vista, 1972), 170.89. Thoreau, Walden, 288.90. Stanley Cavell, The Senses of Walden (Chicago and London: The University of

Chicago Press, 1992), 62.91. Ibid., 62.92. Cavell, The Senses of Walden, 61.93. Olson, The Maximus Poems, 56.94. Ronald Johnson, The American Table (New York, London, Toronto: Fireside /

Simon Schuster, 1991), 250.

5 Orphic Apocrypha: Radi os and the Found Text

1. Gérard Genette, Palimpsests: Literature in the Second Degree, trans. Channa Newman and Claude Doubinsky (Lincoln and London: University of Nebraska Press, 1997), 229.

2. W. K. C. Guthrie, Orpheus and Greek Religion: A Study of the Orphic Movement (Princeton, New Jersey: Princeton University Press, 1993), 97.

3. William Harmon, “The Poetry of a Journal at the End of an Arbor in a Watch,” Parnassus: Poetry in Review 9 (Spring/Summer 1981), 224.

4. John Milton, The Poetical Works of John Milton, ed. William Michael Rossetti (London: Ward, Lock & Bowden, Limited, n.d.), 2.

5. Ibid., 3. 6. Ibid., 2. 7. Dustin Griffin, “Milton’s Literary Influence,” in The Cambridge Companion

to Milton, ed. Donald Danielson (Cambridge: Cambridge University Press, 1989), 252.

8. Ibid., 252. 9. Ibid., 252.10. William Blake, Complete Poetry and Prose, ed. David V. Erdman (Berkeley and

Los Angeles: University of California Press, 1982), 110.11. Robert Duncan, Roots and Branches (New York: New Directions, 1964), 48.12. Milton, according to William Hazlitt, “has borrowed more than any other

writer and exhausted every source of imitation, sacred or profane; yet he is perfectly distinct from every other writer. He is a writer of centos, and yet in originality scarcely inferior to Homer. The power of his mind is stamped in every line. The fervour of his imagination melts down and renders malleable, as in a furnace, the most contradictory materials.” William Hazlitt, Lectures on the English Poets (Philadelphia: Thomas Dobson and Son, 1818), 115. Davenport reiterates Hazlitt when he notes how “Milton found his poem in the Bible, in Homer, in Virgil, in Joshua Sylvester’s translation of Guillaume de Salluste du Bartas’s La Semaine, called Divine Weeks and Workes (and

222 ● Notes

as Milton scholars tend not to know) in Serafino della Salandra’s Adamo Caduto” (R 93).

13. Eric Murphy Selinger, “ ‘I Composed the Holes’: Reading Ronald Johnson’s Radi Os,” Contemporary Literature 33.1 (1992), 52. Blake, Complete Poetry and Prose, 39.

14. Steve McCaffery, “Corrosive Poetics: The Relief of Composition of Ronald Johnson’s Radi os,” Pretexts: Literary and Cultural Studies, 11.2, (2002), 125.

15. Stephen C. Behrendt, The Moment of Explosion: Blake and the Illustration of Milton (Lincoln and London: University of Nebraska Press, 1983), 11.

16. Northrop Frye, Fearful Symmetry: A Study of William Blake (Princeton, New Jersey: Princeton University Press, 1992), 346.

17. Blake, Complete Poetry and Prose, 171.18. John Milton, Areopagitica (1664), ed. Edward Arber (Birmingham: English

Reprints, 1868), 70.19. Guy Davenport to Ronald Johnson, “Birthday of Frederick William Serafino

Austin Lewis Mary Rolfe, Baron Corvo, 1973.” Courtesy of Special Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permis-sion of the Ronald Johnson Literart Estate.

20. McCaffery, “Corrosive Poetics,” 121.21. Thomas A. Vogler, “Re: Naming MIL/TON,” in Unnam’d Forms: Blake and

Textuality, ed. Nelson Hilton and Thomas A. Vogler (Berkeley, Los Angeles, and London: University of California Press, 1986), 142.

22. Dirk Stratton, Ronald Johnson, Western Writers Series No.122 (Boise Idaho: Boise State University Press, 1996), 25.

23. Guy Davenport to Ronald Johnson, August 29, 1977. Courtesy of Special Collections, Spencer Research Library, University of Kansas Libraries. Reprinted by permission of the Guy Davenport Literary Estate.

24. See William T. Dobson, Literary Frivolities: Fancies, Follies, and Frolics (London: Chatto and Windus, 1880), 176–7. See also Pierre Allix’s The Judgement of the Ancient Jewish Church Against the Unitarians in the Controversy Upon the Holy Trinity and the Divinity of Our Blessed Saviour (Oxford: Clarendon Press, 1821), v.

25. Genette, Palimpsests, 230.26. Steve McCaffery, “Synchronicity, Ronald Johnson and the Migratory Phase,”

VORT: Twenty-First Century Previews 3.3 (1976), 15.27. Jerome Rothenberg, “Marcel Duchamp,” in Revolution of the Word: A New

Gathering of American Avant Garde Poetry 1914–1945. ed. Jerome Rothenberg (Boston, MA: Exact Change Press, 1974), 24.

28. Ibid., 29.29. Ibid., 25.30. Ibid., 26.31. Anon., “The Richard Mutt Case,” The Blind Man 2 (May, 1917), 5.32. Tom Phillips, “Notes on A Humument,” in Tom Phillips, A Humument:

A Treated Victorian Novel (London: Thames & Hudson, 2005), n.p.

Notes ● 223

33. See Jonathan Williams, Blackbird Dust: Essays, Poems, and Photographs (New York: Turtle Point Press, 2000), 229. Phillips would later provide draw-ings for Williams’s Imaginary Postcards (Clints Grikes Grips Glints), published by Trigram Press in 1975.

34. Phillips, “Notes on A Humument,” n.p.35. Phillips uses an 1892 edition—“a popular reprint of a successful three-

decker”—of A Human Document that he purchased for threepence at “Austin’s, the furniture repository.” Ibid.

36. Ibid.37. Ibid.38. Ibid.39. Phillips, A Humument, 1.40. Phillips, “Notes on A Humument,” n.p.41. Phillips, “Notes on A Humument,” n.p. Philip Clark, obituary for Lukas Foss,

Gramophone (April 2009), 8.42. Ronald Johnson to Jonathan Williams, November 30 1979 or 1980. PCMS-

019, Jargon Society Collection, 1950–, The Poetry Collection, University at Buffalo, The State University of New York. Reprinted by permission of the Ronald Johnson Literary Estate.

43. Jonathan Williams, Blues & Roots / Rue & Bluets: A Garland for the Appalachians (New York: Grossman Publishers, 1971), n.p.

44. Jonathan Williams, The Loco Logodaedalist in Situ: Selected Poems 1968–7 (London: Cape Goliard Press, 1971), n.p.

45. Ibid., n.p.46. Ibid., n.p.47. Johnson retains the original spacing and layout of the 1892 Milton edition he

uses for Radi os: John Milton, The Poetical Works of John Milton (New York: Thomas Y. Crowell and Company, 1892). “It’s a lovely post-transcendental edition,” Johnson tells Alpert, “in olive green with black and gold and it says MILTON on it, Milton’s poems” (RJ 557). The Sand Dollar Press edition of Radi os uses facsimiles of the pages from this edition.

48. Whilst on their honeymoon, Thomas A. and Laurie Clark visited Johnson in San Francisco in 1972, introduced through a mutual friendship with Williams.

49. Thomas A. Clark to Jonathan Williams, undated. PCMS-019, Jargon Society Collection, 1950–, The Poetry Collection, University at Buffalo, The State University of New York. Reprinted by permission of Thomas A. Clark.

50. Clark acknowledges the poem as an early influence: “At a very early stage, The Book of the Green Man was a revelation for me, introducing me to an odd assort-ment of reading, to visionary landscape and the Pastoral. It began a love affair with the English landscape that lasted many years.” Thomas A. Clark, email to the author, August 21, 2006.

51. Thomas A. Clark, Some Particulars (Kendal, Westmorland: Jargon Society, 1971), n.p.

224 ● Notes

52. Samuel Palmer to John Linnell, Dec 21, 1828, in A. H. Palmer, The Life and Letters of Samuel Palmer (London: Seeley and Co.: 1892), 176.

53. Palmer, Life and Letters, 175.54. Clark, Some Particulars, n.p.55. John Milton, The Poetical Works, 9.56. Ibid., 9.57. Italo Calvino, If On A Winter’s Night A Traveller (London: Vintage Books,

1998), 183.58. The Blakean use of capitals would suggest this. However, these capitals do not

appear in other editions of the poem.59. Craig Dworkin, Reading the Illegible (Evanston, Illinois: Northwestern

University Press, 2003), 127.60. Hans-Josef Klauck, Apocryphal Gospels: An Introduction (New York: Continuum,

2003), 1.61. Peter O’Leary, afterword in “The Book of Adam (Book V of Radi os),” Chicago

Review 53.2/3 (Autumn, 2007), 187.62. Ibid., 1–2.63. Ibid., 2.64. Ibid., 2.65. Elaine Pagels, The Gnostic Gospels (Harmondsworth: Penguin, 1990), 22.66. See James M. Robinson, ed. The Nag Hammadi Library (New York:

HarperSanFrancisco, 1990), 402–30.67. G. R. S. Mead, Thrice Greatest Hermes: Studies in Hellenistic Theosophy and

Gnosis. Book I: Prolegomena (York Beach, Maine: Samuel Weiser, Inc., 2001), 137.

68. Ibid., 137.69. Ibid., 96.70. G. R. S. Mead, Thrice Greatest Hermes: Studies in Hellenistic Theosophy and

Gnosis. Book III: Excerpts and Fragments (York Beach, Maine: Samuel Weiser, Inc., 2001): 181, 183.

71. Norman Finkelstein, On Mount Vision: Forms of the Sacred in Contemporary American Poetry (Iowa City: University of Iowa Press, 2010), 70.

72. Blake, Complete Poetry and Prose, 171.73. C. G. Jung, Psychology and Alchemy, trans. R. F. C. Hull (London: Routledge,

1993), 162.74. Arthur Green, A Guide to the Zohar (Stanford, California: Stanford University

Press, 2004), 34. “Beginning with the Neoplatonist version of Kabbalah,” Arthur Green explains, “we may view the sefirot through either temporal or spatial lenses as stages or rungs in the self-manifestation of Deity. As stages in an ongoing process of inner divine revelation, the sefirot will emerge one after another, each deriving from and dependent upon the one before it.” Ibid., 35.

75. See Howard Schwartz, Tree of Souls: The Mythology of Judaism (New York: Oxford University Press, 2004), 403, 405.

Notes ● 225

76. Ibid., 15. 77. O’Leary, afterword in “The Book of Adam,” 187. 78. Schwartz, Tree of Souls, 15. 79. Blake, another advocate of the cosmic significance of the human form divine

(either as Albion and the Eternal Man or in the physiology of the human body) would no doubt agree with Johnson’s claim that the Man of Light is Paradise. In Milton, Blake writes that it is in “the Portals of [the] Brain” that “The Eternal Great Humanity Divine. [sic] planted his Paradise, / And in it caus’d the spectres of the Dead to take sweet forms / In likeness of himself.” Blake, The Complete Poetry and Prose, 96.

80. Schwartz, Tree of Souls, 15. 81. Ibid., 15. 82. Ibid., 16. 83. Harry Crosby, “Madman,” in Revolution of the Word: A New Gathering of

American Avant Garde Poetry 1914–1945, ed. Jerome Rothenberg (Boston, MA: Exact Change Press, 1974), 124.

84. Guthrie, Orpheus and Greek Religion, 96. 85. Stan Brakhage and Ronald Johnson (with Jim Shedden), “Another Way of

Looking at the Universe” (1997), Chicago Review 47/48, 4/1 (Winter 2001/Spring 2002), 31–32.

86. Jacob Boehme, The Signature of All Things and Other Writings, trans. John Ellinstone (Cambridge: James Clark & Co., 1981), 31.

87. Ibid., 22. 88. John D. Barrow and Frank J. Tipler, The Anthropic Cosmological Principle

(New York: Oxford University Press, 1988), 4. 89. Ibid., 4. 90. Ibid., 4. 91. Selinger, “ ‘I Composed the Holes,’ ” 56. 92. Ronald Johnson, “Blocks to Be Arranged in a Pyramid” notebook, c. 1994.

Reprinted by permission of the Ronald Johnson Literary Estate. 93. Frye, Fearful Symmetry, 347. 94. Ibid., 348. 95. Ibid., 348. 96. Blake, Complete Poetry and Prose, 39. 97. Henry David Thoreau, A Year in Thoreau’s Journal, ed. H. Daniel Peck

(Harmondsworth: Penguin, 1995, 45. 98. Ibid., 45. 99. Christine Downing, “Looking Back at Orpheus,” Spring 71 Orpheus. A Journal

of Archetype and Culture (Fall, 2004), 27.100. Rainer Maria Rilke, “Orpheus. Eurydike. Hermes,” in New Poems, trans.

Stephen Cohn (Manchester: Carcanet, 1997), 125.101. Downing, “Looking Back at Orpheus,” 31.102. Ronald Johnson, “The Planting of the Rod of Aaron” Northern Lights Studies

in Creativity 2 (1985–86), 3.

226 ● Notes

103. Ronald Johnson, “The Book of Adam (Book V of Radi os),” Chicago Review 53.2/3 (Autumn, 2007), 163–87.

104. O’Leary, afterword in “The Book of Adam,” 187.105. Johnson, “The Book of Adam,” 183.106. Ron Silliman, “Space May Produce New Wor(l)ds,” Montemora 4 (1978),

289.107. Virgil, The Eclogues and The Georgics, trans. C. Day Lewis (Oxford: Oxford

University Press, 2009), 124.108. Milton, Poetical Works, 3.109. Finkelstein, On Mount Vision, 70.110. See Gershom G. Scholem, Major Trends in Jewish Mysticism (New York:

Schocken Books, 1974), 265–68.111. Selinger notes that the configuration of the lines, “Man / the chosen / song,”

in Radi os resembles either a diamond or a cross. Selinger, “ ‘I Composed the Holes,’ ” 56.

112. Finkelstein, On Mount Vision, 67.113. See Charles Olson, The Maximus Poems, ed. George F. Butterick (Berkeley, Los

Angeles, and London: University of California Press, 1984), 180 and 242. C.f. George F. Butterick, A Guide to The Maximus Poems of Charles Olson (Berkeley, Los Angeles, and London: University of California Press, 1978), 256–57.

114. Jung, Psychology and Alchemy, 107.115. Peter O’Leary, “ARK as Spiritual Phenomenon,” Sagetrieb 14.3 (Winter,

1997), 33.116. Jung, Psychology and Alchemy, 107.117. Ibid., 109.118. Finkelstein, On Mount Vision, 68.119. Scholem, Major Trends, 265.120. Finkelstein, On Mount Vision, 69.121. Jung, Psychology and Alchemy, 301.122. June Singer provides a comprehensive overview of this theme in her essay, “The

Evolution of the Soul” in The Allure of Gnosticism: The Gnostic Experience in Jungian Psychology and Contemporary Culture, ed. Robert. A. Segal (Chicago and LaSalle, Illinois: Open Court, 1995), 54–69.

123. Jung, Psychology and Alchemy, 301.124. Ibid., 302.125. Selinger, “ ‘I Composed the Holes,’ ” 66.126. Ibid., 66.127. Titus Burckhardt, Alchemy: Science of the Cosmos, Science of the Soul (Louisville,

Kentucky: Fons Vitae, 1997), 36.128. Finkelstein, On Mount Vision, 70.129. Scholem, Major Trends, 278.130. Ibid., 279.131. Duncan, Roots and Branches, 68.132. Ronald Johnson, “The Planting of the Rod of Aaron,” Northern Lights Studies

in Creativity 2 (1985–86), 2.

Notes ● 227

6 A “mosaic of Cosmos”: ARK’s Bricolage Poetics

1. William Carlos Williams, Imaginations, ed. Webster Schott (New York: New Directions, 1971), 318.

2. Marianne Moore, The Complete Prose, ed. Patricia Willis (London: Faber and Faber, 1987), 506.

3. According to Robert von Hallberg, in Radi os “Johnson feels his way along Milton’s text, alert to the buried senses” rather than the “history of [his] words” and therefore does not follow “the path recommended by Emerson and Pound.” Robert Von Hallberg, Lyric Powers (Chicago and London: University of Chicago Press, 2008), 30.

4. Charles Simic, dust jacket blurb in Ronald Johnson, ARK 50: Spires 34–50 (New York: E. P. Dutton, 1984).

5. Ronald Johnson to Jonathan Williams, undated. PCMS-019, Jargon Society Collection, 1950–, The Poetry Collection, University at Buffalo, The State University of New York. Reprinted by permission of the Ronald Johnson Literary Estate.

6. Ronald Johnson, “ARK: The Ramparts (Arches I-XVIII),” Conjunctions 15 (1990), 189.

7. Ronald Johnson, “ARK: The Ramparts (Arches I-XVIII),” Conjunctions 15 (1990), 148–99. Ronald Johnson, “ARK 97–99, Arches XXXI-XXXIII,” Parnassus: Poetry in Review 17.2/18.1 (1990), 273–81.

8. Homer, The Odyssey, trans. Robert Fagles (Harmondsworth: Penguin, 2004), 237. 9. This visual is absent in the Living Batch Press edition of ARK, which also omits

approximately a third of the text of “BEAM 5.”10. Kathleen Raine writes at length on this painting and Blake’s symbolic use of sea

and loom imagery in Blake and Antiquity (London: Routledge and Kegan Paul, 2002), 1–15.

11. Johnson recycles other poems or phrases from Songs of the Earth in “BEAM 2,” “BEAM 14,” and “BEAM 24.”

12. Robert Duncan, Bending the Bow (New York: New Directions, 1968), 12.13. Homer, The Odyssey, 239.14. Ezra Pound, Literary Essays, ed. T. S. Eliot (London: Faber and Faber,

1960), 25.15. Ibid., 25.16. Marjorie Perloff, Radical Artifice: Writing Poetry in the Age of Media (Chicago

and London: The University of Chicago Press, 1991), 54.17. Ibid., 78–9.18. Ronald Johnson, undated letter (typescript). Reprinted by permission of the

Ronald Johnson Literary Estate.19. Marianne Moore, The Complete Prose, 512.20. See Louis Zukofsky, “A” (Baltimore and London: The Johns Hopkins University

Press, 1993), 185.21. Julia Kristeva, The Julia Kristeva Reader, ed. Toril Moi (Oxford: Basil Blackwell,

1989), 37.

228 ● Notes

22. Ezra Pound, ABC of Reading (London. Faber and Faber, 1961), 46.23. James Hillman, “Alchemical Blue and the Unio Mentalis,” Sulfur: A Literary

Tri-Quarterly of the Whole Art 1 (1981), 42.24. Ibid., 41–2.25. R. Bruce Elder, “Brakhage: Poesis,” in Stan Brakhage: Filmmaker, ed. David

E. James (Philadelphia: Temple University Press, 2005), 101.26. Ralph Waldo Emerson, Essays, ed. Ernest Rhys (London: J. M. Dent & Sons

Ltd. / New York: E. P. Dutton & Co. Inc, 1938), 181.27. See Louis Zukofsky, Prepositions +: The Collected Essays, ed. Mark Scroggins

(Middletown, Connecticut: Wesleyan University Press, 2000), 12. Bruce Comens, Apocalypse and After: Modern Strategy and Postmodern Tactics in Pound, Williams, and Zukofsky (Tuscaloosa and London: The University of Alabama Press, 1995), 171.

28. Zukofsky, “A”, 511.29. Schelb, “The Extraction of Song,” 351–2.30. Burton Hatlen, “From Modernism to Postmodernism: Zukofsky’s “A”-12,” in

Upper Limit Music, 214.31. Johnson, “ARK: The Ramparts (Arches I-XVIII),” 189.32. See Zukofsky, “A”, 1, 536.33. Ibid., 262, 517.34. See Louis Zukofsky’s letter to Guy Davenport, September 23, 1967, cited in

Mark Scroggins, The Poem of a Life: A Biography of Louis Zukofsky (Berkeley: Shoemaker Hoard, 2007), 393.

35. Stéphane Mallarmé, “Crisis in Poetry,” trans. Bradford Cook, in Toward the Open Field: Poets on the Art of Poetry 1800–1950, ed. Melissa Kwasny (Middletown, Connecticut: Wesleyan University Press, 2004), 157.

36. Stéphane Mallarmé, Selected Letters, trans. Rosmary Lloyd (Chicago and London: The University of Chicago Press, 1988), 86.

37. Roger Pearson, Unfolding Mallarmé: The Development of a Poetic Art (Oxford: Clarendon Press, 1996), 5.

38. Matthew Potolsky, “Crise de Vers (à Soie): Mallarmé and the Scene of Revision,” MLN 110.4 (1995), 715.

39. Kent Johnson, “A Fractal Music: Some Notes on Zukofsky’s 80 Flowers,” in. Upper Limit Music: The Writing of Louis Zukofsky, ed. Mark Scroggins (Tuscaloosa and London: The University of Alabama Press, 1997), 261.

40. Ibid., 261.41. Tim Woods, The Poetics of the Limit: Ethics and Politics in Modern and

Contemporary American Poetry (Basingstoke: Palgrave Macmillan, 2002), 213.42. Ibid., 214.43. Edward Schelb, “The Extraction of Song: Louis Zukofsky and the Ideology of

Form,” Contemporary Literature 31.3 (Autumn, 1990), 337.44. See Zukofsky, “A”, 528. Zukofsky proposes a similar case for the literal sense

of reading in his 1971 essay, “For Wallace Stevens.” See Louis Zukofsky, Prepositions +, 24.

Notes ● 229

45. Ronald Johnson, The Round Earth on Flat Paper (Urbana, Illinois; The Finial Press, 1968), n.p.

46. Ibid., 10.47. Schelb, “The Extraction of Song,” 336, 351.48. C.f. Zukofsky, “A”, 511.49. Comens, Apocalypse and After, 151.50. Ibid., 234.51. See Zukofsky, “A”, 508.52. Geoffrey Chaucer, The Parlement of Foulys, ed. D. S. Brewer (Manchester:

Manchester University Press, 1993), 71.53. C.f. William Shakespeare, The Tempest, ed. Virginia Mason Vaughan and

Alden T. Vaughan (London: Arden Shakespeare, 1999), 251.54. Chaucer, The Parlement of Foulys, 80.55. Michele Leggott, Reading Zukofsky’s 80 Flowers, 34.56. Ibid., 37.57. Comens, Apocalypse and After, 184.58. Robert Creeley’s endorsement of ARK appears on the back cover of the Living

Batch Press edition of ARK.59. Lucretius, On the Nature of Things, trans. Anthony M. Esolen (Baltimore and

London: The John Hopkins University Press, 1995), 65.60. Harold Bloom, The Anxiety of Influence: A Theory of Poetry (London: Oxford

University Press, 1975), 14.61. Donald Hall, “Interview with Ezra Pound,” Paris Review 28 (Summer/Fall,

1962), http://www.theparisreview.org/media/4598_POUND.pdf62. William Shakespeare, A Midsummer Night’s Dream, ed. Harold F. Brooks

(London: Arden, 2001), 104.63. Hugh Kenner, A Homemade World: The American Modernist Writers (London:

Marion Boyars, 1977), 106.64. Ibid., 98.65. Gus Blaisdell, “Building Poems,” VORT: Twenty-First Century Previews 3.3

(1976), 131.66. Ibid., 131–2.67. Ibid., 132.68. Ibid., 132.69. Ibid., 132.70. Kenner, A Homemade World, 106.71. Ibid., 110–111.72. Stacy Carson Hubbard, “ ‘The Many Armed Embrace’: Collection,

Quotation, and Mediation in Marianne Moore’s Poetry,” Sagetrieb 12.2 (Fall, 1993), 12.

73. See Jennie-Rebecca Falcetta, “Acts of Containment: Marianne Moore, Joseph Cornell, and the Poetics of Enclosure,” Journal of Modern Literature 29.4 (2006), 124–44.

74. Kenner, A Homemade World, 102.

230 ● Notes

75. Ronald Johnson, “Persistent Light on the Inviolably Forever Other,” Margins 13 (August-September, 1974), 13.

76. Ronald Johnson, “Hurrah for Euphony: Dedicated to Young Poets,” The Cultural Society (January 14, 2002), http://culturalsociety.org/RJ.html

77. Ronald Johnson, “The Planting of the Rod of Aaron,” Northern Lights Studies in Creativity 2 (1985–86), 1, 3.

78. Ronald Johnson, “Six, Alas!” Chicago Review 37.1 (1990), 41. 79. Marianne Moore, Complete Poems (London and Boston: Faber and Faber,

1984), 134. 80. Ibid., 74. 81. Lorrayne Carroll, “Marianne Moore,” in American Poetry: The Modernist

Ideal, ed. Clive Bloom and Brian Docherty (New York: St. Martin’s Press, 1995), 105.

82. John Slatin, The Savage’s Romance: The Poetry of Marianne Moore (University Park and London: The Pennsylvania State University Press, 1986), 7.

83. Cristanne Miller, Marianne Moore: Questions of Authority (Cambridge, Massachusetts and London: Harvard University Press, 1995), 177.

84. Ibid., 177. 85. Lynn Keller, “ ‘For Inferior Who Is Free?’ Liberating the Woman Writer in

Marianne Moore’s ‘Marriage,’ in Influence and Intertextuality in Literary History, ed. Jay Clayton and Eric Rothstein (University of Wisconsin Press, 1991), 225.

86. Ibid., 226. 87. Moore, Complete Poems, 72. 88. Ibid., 273, 73. 89. Slatin, The Savage’s Romance, 9. 90. Moore, Complete Poems, 71. 91. Fiona Green, “ ‘The Magnitude of their Root Systems’: ‘An Octopus’ and

National Character,” in “A Right Salvo of Barks”: Critics and Poets on Marianne Moore, ed. Linda Levell, Cristanne Miller, and Robin G. Schultze (Lewisburg, PA: Bucknell University Press, 1991), 140.

92. Ibid., 140. 93. Moore, Complete Poems, 71. 94. Stacy Carson Hubbard, “The Many Armed-Embrace: Collection, Quotation

and Mediation in Marianne Moore’s Poetry,” Sagetrieb 12.2 (Fall, 1993), 15. 95. Moore, Complete Poems, 271. 96. Williams, Imaginations, 319. 97. T. S. Eliot, The Sacred Wood: Essays on Poetry and Criticism (London: Methuen,

1940), 49. 98. Lynn Keller, “ ‘For Inferior Who Is Free?’ ” 233. 99. Ronald Johnson, Arches Notebook c.1986. Quoted with permission of the

Ronald Johnson Literary Estate.100. Ronald Johnson, Arches Notebook c. 1990. Reprinted by permission of the

Ronald Johnson Literary Estate.101. Hubbard, “The Many-Armed Embrace,” 19.

Notes ● 231

102. Ronald Johnson, Notebook c. 1975. Reprinted by permission of the Ronald Johnson Literary Estate.

103. Ronald Johnson, Arches Notebook c.1986. Reprinted by permission of the Ronald Johnson Literary Estate.

104. William Blake, The Complete Poetry and Prose, ed. David V. Erdman (Berkeley and Los Angeles: University of California Press, 1982), 561. C.f. Zukofsky, “A”, 528.

105. William Carlos Williams, Paterson, ed. Christopher MacGowan (New York: New Directions, 1992), 222.

106. Ronald Johnson, Notebook c.1994. Reprinted by permission of the Ronald Johnson Literary Estate.

107. Ronald Johnson, “Thoreau & Van Gogh” Arches Notebook c.1989. Reprinted by permission of the Ronald Johnson Literary Estate.

108. Ronald Johnson, “ARK 51” & ARK Essay Notebook. Reprinted by permission of the Ronald Johnson Literary Estate.

109. Ronald Johnson, “Thoreau & Van Gogh” Arches Notebook c.1989. Reprinted by permission of the Ronald Johnson Literary Estate.

110. Ronald Johnson, Arches Notebook c. 1986. Reprinted by permission of the Ronald Johnson Literary Estate.

111. Ibid.112. According to Mark Scoggins, this Goethe paraphrase (which Scroggins quoted

to Johnson in a letter and which Johnson subsequently cemented into “ARK 73”) is an example of what Johnson called a “hyrda” quote”: “A ‘hydra’ quote, one assumes, because it springs up everywhere, but has no single determinate source.” The point, Scroggins argues, “is that the words’ source—for Johnson, and for the readers of ARK—doesn’t matter. The words have gone in to make part of one of the tercets of an Arch, fitting in with the poem’s intricate imag-ery of sound and architecture” (RJ 9–10).

113. Abraham Lincoln, Speeches and Letters, ed. Merwin Roe (London and New York: J. M. Dent & Sons and E. P. Dutton & Co., 1943), 202.

114. See John Read, From Alchemy to Chemistry (New York: Dover Publications, 1995), 28–40.

115. Ronald Johnson, “A Note on ARK” in Johnson, ARK 50, 56.116. Ronald Johnson, Notebook c.1995. Reprinted by permission of the Ronald

Johnson Literary Estate.117. Robert Duncan, Fictive Certainties (New York: New Directions, 1985), 115.

Conclusion: Felix Culpa: Innocence and Renewal

1. Thomas Traherne, Poems, Centuries and Three Thanksgivings, ed. Anne Ridler (London: Oxford University Press, 1966), 87.

2. Stan Brakhage, Essential Brakhage: Selected Writings on Filmmaking, ed. Bruce R. McPherson (New York: McPherson, 2001), 140.

3. T. S. Eliot, Collected Poems 1909–1962 (London: Faber and Faber, 1974), 63.

232 ● Notes

4. Ronald Johnson to Jonathan Williams, February 22, no year. PCMS-019, Jargon Society Collection, 1950–, The Poetry Collection, University at Buffalo, The State University of New York. Reprinted by permission of the Ronald Johnson Literary Estate.

5. David Abram, The Spell of the Sensuous: Perception and Language in a More-Than-Human-World (New York: Vintage Books, 1997).

6. Eliot, Collected Poems, 63. Ronald Johnson, The Shrubberies, ed. Peter O’Leary (Chicago: Flood Editions, 2001), 124.

7. Tim Smit, “Welcome to Eden,” in Eden Project: The Guide 2007/8 (London: Eden Project Books/Transworld Publishers, 2007), 1.

8. Ronald Johnson, “Six, Alas!” Chicago Review 37.1 (1990), 26. 9. Ibid., 36.10. Bob Gilmore, Harry Partch: A Biography (New Haven and London: Yale

University Press, 1998), 1.11. Ibid., 1.12. Hugh Kenner, The Pound Era (London: Faber and Faber, 1972), 377.13. Charles Ives, Essays Before a Sonata and Other Writings, ed. Howard Boatwright

(London: Calder & Boyars, 1969), 80–1.14. Brakhage, Essential Brakhage, 12.15. Ibid., 12.16. Susan Howe, My Emily Dickinson (Berkeley, California: North Atlantic Books,

1985), 138.17. Bruce Andrews, “Poetry as Explanation, Poetry as Praxis,” in Postmodern

American Poetry: A Norton Anthology, ed. Paul Hoover (New York and London: W. W. Norton, 1994), 669–70.

18. Eric Murphy Selinger, “Important Pleasures and Others: Michael Palmer, Ronald Johnson,” Postmodern Culture 4.3 (1994), http://muse.jhu.edu/ journals/postmodern_culture/v004/4.3selinger.html

19. Sir Philip Sidney, An Apology for Poetry; or, The Defense of Poesy, ed. Geoffrey Shepherd (Manchester: University of Manchester Press, 1973), 101.

20. James Hillman, The Thought of the Heart and The Soul of the World (Woodstock, CT: Spring Publications, 1997), 45.

21. Ibid., 45.22. Ibid., 45.23. Robert Duncan, The Opening of the Field (New York: New Directions,

1960), 10.24. Johnson includes the natural science writer (misspelled “Eisley”) in his

list of inf luences in “The Planting of the Rod of Aaron,” Northern Lights Studies in Creativity 2 (1985–86), 4. Sherman Paul, For the Love of the World: Essays on Nature Writers (Iowa City: University of Iowa Press, 1992), 200.

25. Ibid., 200.

Notes ● 233

26. Ronald Bush, “The Cantos: The Pisan Cantos LXXIV-LXXXIV,” in The Ezra Pound Encyclopedia, ed. Demetres P. Tryphonopoulis and Stephen J. Adams (Westpark, CT: Greenwood Press, 2005), 43.

27. Pierre Joris, Justifying the Margins (Cambridge, UK: Salt Publishing, 2009), 130.

28. Ronald Johnson to Philip Van Aver, October 3 1988. Courtesy of Philip Van Aver. Reprinted by permission of the Ronald Johnson Literary Estate.

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Adam, 2, 25, 29, 40, 69, 70, 71, 139, 140, 141, 142, 150–5, 190, 195–7, 200

see also Adam Ha-Rishon; Adam Kadmon; anthropos

Adam Ha-Rishon, 154–5Adam Kadmon, 140–2, 151–4, 193alchemy, 43, 152, 191Andrews, Bruce, 11, 15, 201Anthropic Cosmological Principle,

144–5anthropos, 140, 141, 142, 145, 151,

152, 153Antin, David, 24, 52apocrypha, 131, 139, 140, 155Apollinaire, Guillaume, 45, 131Arber, Agnes, 31, 37, 78assemblage, 3, 17, 20, 57, 107, 108, 131,

180, 185, 198see also collage; naïve art

Aver, Philip Van, 1, 203

Bach, Johann Sebastian, 37, 133, 160, 162, 178

Bacon, Sir Francis, 31, 32, 33, 125Baum, L. Frank, 7, 111, 166

see also Wonderful Wizard of Oz, theBernstein, Charles, 11, 12Black Mountain, 8, 9, 10, 11, 14, 16, 52Blake, William, 1, 43, 64, 72, 77, 84,

110, 125, 126, 127, 129, 130, 137,

140, 144, 145–6, 187, 188, 214n9, 215n34, 224n58, 225n79, 227n10

“A Vision of the Last Judgment,” 188“Auguries of Innocence,” 160Jerusalem, 110The Marriage of Heaven and Hell,

40, 67, 127Milton, 126, 127, 129

Blaisdell, Gus, 158, 178, 179Blanchot, Maurice, 149Bloom, Harold, 65, 77, 175Boehme, Jacob, 43, 144, 145, 191Bogan, Louise, 181Bowen, Elizabeth, 181, 197Brakhage, Stan, 18, 37, 40, 195, 199,

200, 202Breton, André, 108bricolage, 13, 20, 21, 92, 105, 110, 113,

115, 124, 127, 130, 133, 154, 155, 157, 158, 162, 164, 165, 168, 175, 178, 179, 180, 190, 219n62

see also collage; naïve artBrown, Bob, 131Bunting, Basil, 9, 51, 53, 168, 211n3

Briggflatts, 180Burroughs, William, 132

Cage, John, 133–4Calvino, Italo, 138Cavell, Stanley, 54, 119, 120, 121cento, 127, 130, 221n12

Index

252 ● Index

Chaucer, Geoffrey, 173Cheval, Ferdinand “Le Facteur,” 107,

108, 110, 119, 121, 167, 177, 196, 198

Clare, John, 66, 186Clark, Laurie, 223n48Clark, Thomas A, 135–7, 202, 223n48,

223n50collage, 3–5, 9, 17–24, 25, 35, 51,

52, 54, 55, 57, 59, 61–4, 66, 79, 83, 84, 91–4, 99, 101, 105, 106, 111, 124, 129–30, 132, 133, 139, 155, 157, 161, 164, 165, 179–86, 198–9, 203

and Charles Ives, 91–4and Ezra Pound, 54, 55, 57, 59, 61–4and Marianne Moore, 179–86see also bricolage; ideogrammic

methodCornell, Joseph, 180Creeley, Robert, 9, 52, 135, 157, 175,

218n22, 229n58Crosby, Harry, 143

Dahlberg, Edward, 9, 26, 47, 52Dante, 159Davenport, Guy, 2, 4, 6, 7, 10, 25, 52,

53, 57, 61, 68, 73, 76, 92, 93, 101, 104, 107, 128, 130, 145, 165, 176, 196, 200, 221n12

Delius, Frederick, 82, 83Dewey, John, 61–2Dickinson, Emily, 30, 181, 193, 196,

197, 201Divine Anthropos, 140, 141Duchamp, Marcel, 130–1, 134Duncan, Robert, 6, 11, 13, 14, 16, 17,

20, 24, 43, 52, 58, 83–6, 94, 96, 99–100, 116, 126, 155, 160, 161, 175, 193, 201, 216n55, 218n22, 218n24

Eiseley, Loren, 202, 232n24Eliot, T.S., 14, 18, 53, 59, 93, 129, 165, 179,

181, 182, 183, 184, 185, 196, 200

Ellis, Havelock, 134, 135Emerson, Ralph Waldo, 4, 23–6, 30,

31, 32, 34–41, 43–9, 64, 65, 69, 80, 97, 114, 119, 121, 154, 167, 168

and self-reliance 101–4, 105–6, 120, 172, 188, 191, 200, 202

see also transcendentalismEurydice, 13, 139, 145–9, 150–1, 160,

166

Faivre, Antoine, 42Fenollosa, Ernest, 47, 53, 54, 56–8,

211n52Finlay, Ian Hamilton, 9, 45Foss, Lukas, 132, 133Foucault, Michel, 42found objects, see assemblageFrye, Northrop, 23, 25, 127, 145–6Fuller, R. Buckminster, 53–4, 104,

116, 134, 149, 195, 212n11Furnival, John, 9

Genette, Gerard, 123, 130, 131, 133Gerard, John, 80gnosticism, 42, 140, 144, 152, 160,

226n122Goethe, Johann Wolfgang von, 32, 46,

189, 231n112Gray, Asa, 146, 148Grigson, Geoffrey, 9–10, 31, 70–1, 73,

78, 84, 87Grigson, Jane, 9Gunn, Thom, 11, 116, 207n47

H.D. (Hilda Doolittle), 13, 14, 53, 86

Handel, George Frideric, 133Harrison, Lou, 134Hazlitt, William, 221n12Henry, Pierre, 17Heseltine, Philip, see Warlock, PeterHermes, 24, 161–2, 169Herme Trismegistus, 169Herrick, Robert, 81, 173

Index ● 253

Hillman, James, 41, 149, 165, 201, 203history, 9, 70, 73, 187, 189, 191–2

and Emerson, 36–8, 167and Johnson, 26, 62–3, 124, 127,

128, 157, 165–7, 175–7, 191–2, 203

and Moore, 179, 185and Pound, 9, 54, 59–63, 165and Zukofsky, 164, 167, 168–72,

179Homer, 130, 159, 162, 221n12

Odyssey, the, 158, 159, 160, 162, 166

Howe, Susan, 201Hoyem, Andrew, 112, 113

ideogrammic method, 52, 55–62, 64, 69, 71, 72, 79–89, 91, 159, 164, 169, 178

in The Book of the Green Man, 79–89

see also Pound, EzraIsidore, Raymond, 91, 107, 108,

109–10, 119, 121, 198Ives, Charles, 4, 10, 18, 19, 20, 51, 91,

92–104, 105, 106, 111, 112, 113, 116–17, 118, 121, 124, 134, 178, 198, 199, 217n12

John of Patmos, St., 86Johnson, Ronald

Adamic sensibilities, 21, 69, 71, 72, 73, 92, 105, 115, 116, 142, 154, 165, 166, 168, 174, 190, 192, 193, 203

assemblage sculptures, 17, 20bricolage poetics, 13, 21, 92, 105,

110, 113, 115, 124, 127, 130, 133, 154, 155, 157–62, 164, 165, 168, 175, 178, 179, 180, 190, 219n62, see also bricolage; collage; history

cookery, 5, 6, 9, 18, 121and Jonathan Williams, 8, 10, 66,

74, 195notebooks, 74–6, 186–9

and Orpheus, 13–14, 33, 106–7, 139, 148–9, 150, 166

romantic sensibilities, 4, 5, 8, 14, 19, 23–4, 31, 34, 49, 70, 125–6, 128–9

sexuality, 15and transcendentalism, 23–49translations of Raymond Isidore and

Ferdinand Cheval, 107, 109–10visit to the Watts Towers, 110,

219n62Xero-Ox editions, 6, 158, 164, 206n

Johnson, Ronald, work ofA Line of Poetry, A Row of Trees,

1, 3, 8, 26, 28, 31, 34, 35, 38, 41, 51, 64, 66, 80, 85, 92, 186, 191, 194, 198; “Emerson, On Goethe,” 45–9, 114, 191; “Four Orphic Poems,” 31, 33, 37, 41, 42, 44, 45, 47, 85; “Landscape with Bears, for Charles Olson,” 41; “Lilacs, Portals, Evocations,” 26, 28, 31, 92; “Of Circumstance, The Circum Stances,” 12, 26, 27–8, 98; “Quivara,” 26; “Samuel Palmer: The Characters of Fire,” 25, 28, 66, 213n2; “Shake, Quoth the Dove House,” 28, 66; “Still Life,” 26, 31, 39, 200; “When Men Will Lie Down as Gracefully & as Ripe,” 45

The American Table, 6, 121ARK, 2, 3, 6, 9, 12, 13, 19, 20, 21,

22, 25, 26, 29, 30, 34, 35, 37, 63–4, 71, 92, 110, 111, 113, 115, 116, 117, 118, 124, 134, 137, 144, 149, 150, 151, 152, 155, 157, 158, 162–6, 167, 168, 169, 174, 175, 176, 177, 178, 180, 181, 182, 186, 188, 189, 190, 191–2, 194, 195–8, 199, 211n51, 231n112; ARK: “The Foundations,” 2, 30, 38–41, 42, 47, 112, 115–19, 123, 143, 149, 150, 154–5, 157, 158, 159, 162–3, 164, 187; “BEAM 1,” 115, 159;

254 ● Index

Johnson, Ronald, work of—Continued “BEAM 2,” 150–1, 196, 227n11;

“BEAM 4,” 37, 38, 39, 40, 118, 143, 144; “BEAM 5, The Voices,” 13, 37, 151, 158–62, 173, 227n9; “BEAM 7,” 37, 115; “BEAM 8,” 120, 169, 198, 201; “BEAM 10,” 151–4, 160, 193; “BEAM 11, Finial,” 39, 115, 118, 153, 192; “BEAM 12,” 33, 40, 118; “BEAM 14,” 4, 151, 227n11; “BEAM 16, The Voices,” 4, 24, 119, 150, 169; “BEAM 17,” 25, 40, 71; “BEAM 18,” 39–40, 43; “BEAM 20, Labyrinthus,” 41, 191; “BEAMS 21, 22, 23, The Book of Orpheus,” 30, 150, 151; “BEAM 25, A Bicentennial Hymn,” 117–18, 193; “BEAM 26,” 119; “BEAM 27,” 119; “BEAM 28, The Book of Orpheus,” 19, 144, 160; “BEAM 29,” 2, 160, 193; “BEAM 33,” 115, 155; ARK: “The Spires,” 2, 6, 9, 13, 18, 137, 149, 157, 158, 162, 163, 164, 168, 174, 177, 182, 186, 211n51; ARK 50: Spires 34–50, 6, 157; “ARK 34, Spire on the Death of L.Z.”, 166, 199; “ARK 35, Spire Called Arm of the Moon,” 2, 25, 118, 151, 190; “ARK 38, Ariel’s Song to Prospero,” 17, 164, 208n55; “ARK 50, Adamspire,” 182; “ARK 53, Starspire,” 177, 182; “ARK 55, The ABC Spire,” 182; ARK: “The Ramparts,” 2, 6, 9, 18, 137, 149, 157, 158, 162–4, 165, 168, 169, 174, 177, 178, 182, 186, 188, 193, 194; “ARK 60, Fireworks I,” 189–90; “ARK 61, Fireworks II,” 190; “ARK 83, Arches XVII,” 182; “ARK 85, Arches XIX,”197, 198–200; “ARK 86, Arches XX, The Wreath,” 182; “ARK 88, Arches XXII, The Cave,” 182; “ARK 91, Arches XXV,” 182; “ARK 92,

Arches XXVI,” 187–8; “ARK 93, Arches XXVII,” 186; “ARK 96, Arches XXX,” 177; “ARK 98, Arches XXXII,” 158, 177, 191;”ARK 99, Arches XXXIII,” 155, 158, 165, 177, 192, 193, 198

The Book of the Green Man, 10, 51, 62, 64, 65–89, 92, 97, 105, 108, 129, 136, 164, 165, 173, 180, 186, 213n2, 223n50

The Different Musics, 80, 91–4, 105, 106, 110, 113, 123, 124; “Assorted Jungles: Rousseau,” 106; “The Different Musics,” 94–9, see also Valley of the Many-Colored Grasses

“Hurrah for Euphony,” 13, 23, 26, 30, 31, 53, 181

“If I Die Before I Awake,” 219n50Io and the Ox-Eyed Daisy, 9“The Planting of the Rod of Aaron,”

3, 53, 149, 181, 232n24Radi os, 35, 44–5, 123–55, 157, 195,

223n47, 226n11, 227n3The Round Earth on Flat Paper, 171The Shrubberies, 1, 5“Six, Alas!,” 181, 197Songs of the Earth, 112–15, 151, 161,

227n11The Spirit Walks, The Rocks Will

Talk, 106–10“Up Till Now,” 5, 6, 7, 9, 11, 13, 18,

20, 41, 51, 69, 93, 107, 108, 110, 112, 117, 123, 128, 139, 150–1, 154, 163, 168, 180, 198, 207n47, 219n62

Valley of the Many-Colored Grasses, 92, 176

Wor(l)ds, 12–13, 110–12, 113, 115, 124, 126, 149, 150, 158, 220n65

Jones, Barbara, 107Jung, Carl Gustav, 119, 126, 140–1,

152, 153, 186Jungian psychology, 29, 37, 148, 155

kabbalah, 42, 140, 141, 224n74Kansas, 5, 7, 27, 52, 63, 110–11, 115, 192

Index ● 255

Kenner, Hugh, 10, 14, 53–4, 55, 56, 57, 58, 116, 178, 179, 180, 199, 212n11

Kilvert, Francis, 67–8, 74, 75, 82, 83Kristeva, Julia, 164

Language Poetry, 10–11, 12–16, 19Leibniz, Gottfried Wilhelm, 152Levertov, Denise, 65, 71–2, 83, 84Lincoln, Abraham, 118, 189–91, 193Loy, Mina, 8, 19, 24, 131Lucretius, 31, 175

Mahler, Gustav, 112, 113, 114, 115, 178

Mallarmé, Stéphane, 128, 157, 169–71, 172, 174

Mead, G. R. S., 140memory jugs, 106, 219n50Milton, John, 64, 84, 123–9, 130, 133,

137, 138–9, 143, 146, 150, 151, 180, 221n12, 223n47, 227n3

Moore, Marianne, 18, 19, 21, 22, 23, 51, 157, 164, 165, 177, 178–86, 187, 188, 200

“The Mind is An Enchanting Thing,” 182

“An Octopus,” 182, 183–5, 187, 188see also collage

Muir, John, 183, 184, 185

Nag Hammadi Library, The, 140naïve art, see bricolageneoplatonism, 60, 143, 152, 153,

224n74Niedecker, Lorine, 24, 181, 202

Olson, Charles, 8, 9, 10, 13, 18, 19, 21, 24, 26–8, 31, 41, 47, 51, 52, 53, 63, 92, 94, 96, 100, 121, 134, 152, 166, 175, 176, 179, 180, 181, 218n22

Orpheus, 13, 14, 31–3, 107, 139, 147–9, 150, 166

see also Eurydice; Phanes

Pagels, Elaine, 140Palmer, Samuel, 25, 26, 28, 66, 68,

69, 70, 72, 74, 84, 85, 86–9, 135, 136–7, 202, 214n9, 215n34, 216n58

Partch, Harry, 117, 198–9, 220n80Pater, Walter, 46, 55, 174Phanes, 143Phillips, Tom, 132, 133, 223n33Pico della Mirandola, Giovanni, 43,

210n41Pound, Ezra, 2, 4, 5, 8–9, 10, 11–12,

13, 14, 18, 19, 20, 21, 22, 23, 24, 35, 51–64, 66, 69, 71, 79, 83, 84, 91, 93, 94, 96, 124, 143, 157, 161, 163, 164, 165, 166, 168, 171, 172, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184, 185, 191, 198, 200, 202–3

The Cantos, 2, 4, 9, 51, 54, 56, 57–63, 83, 84, 93, 96, 129, 158–60, 198, 199, 202–3

and Fenollosa, Ernest, 56–8and ideogrammic method, 55–8

Raine, Kathleen, 140, 227n10Rexroth, Kenneth, 11, 43Rilke, Rainer Maria, 13, 32, 149Robin Goodfellow, 79–82Rodia, Sabato (Sam), 6, 7, 19, 20, 105,

107, 108, 119, 120, 121, 158, 176, 177, 196, 198, 199, 219n62

Rothenberg, Jerome, 24, 62Rousseau, Henri, 106–7Ruggles, Carl, 92, 134Ruskin, John, 67–8, 70, 111, 183,

184–5, 186Ryder, Albert Pinkham, 4

Schaeffer, Piere, 17Sewell, Elizabeth, 30–41, 42, 43, 46,

49, 76, 125, 144, 148, 210n41Shakespeare, William, 32, 80, 81, 117,

177Sharpless, Jack, 17, 208n54

256 ● Index

Sidney, Sir Philip, 201Sitwell, Edith, 79, 81, 181Stein, Gertrude, 19, 108, 137Stevens, Wallace, 23–4, 180

Thomson, James, 66Thoreau, Henry David, 1, 4, 10, 23–4,

25, 30, 31, 33, 34, 35, 37, 38, 40–1, 42, 48, 54, 70, 72, 77, 80, 97, 100, 101, 104, 111, 113, 114, 119, 120, 121, 134, 146–7, 148, 173, 186, 202, 209n23, 215n23

Todd, Glenn, 112Todd, Ruthven, 84Toklas, Alice B., 108Traherne, Thomas, 195transcendentalism, 3, 4, 8, 12, 14,

23–49, 69, 70, 92, 101–4, 106, 116, 119, 165, 176, 199, 210n32

Vendler, Helen, 6, 158Virgil, 130, 150, 159, 221n12

Warlock, Peter, 80, 83Watts Towers, the, see Rodia, SabatoWhite, Gilbert, 68, 74, 80, 82, 83, 129, 135

Whitman, Walt, 2, 4, 24, 25, 30, 35–6, 70, 72, 80, 84–5, 97, 104, 111, 167, 211n51, 215n23

Williams, Jonathan, 8, 10, 52, 53, 66, 74, 77, 82, 112, 114, 134–5, 137, 195, 202

Williams, William Carlos, 4, 9, 19, 24, 52, 157, 176, 181, 185, 188

Wonderful Wizard of Oz, The, 7, 111, 199

see also Baum, L. FrankWordsworth, Dorothy, 77–9Wordsworth, William, 32, 66, 67, 68,

70, 74, 77–9, 125, 129, 130

Yeats, W. B., 43, 46, 52, 153

Zukofsky, Louis, 2, 6, 7, 10, 11–13, 14, 16–17, 18, 19, 21, 22, 37, 51, 52, 53, 92, 137, 157, 163, 164–5, 166, 167, 168–75, 176, 177, 178, 179, 180, 181, 182, 188, 190, 200

“A,” 164, 168, 169, 170, 172–4, 175, 178, 180, 188, 190

Poem Beginning “The,”173, 181, 182