Abstract

A striking fact of our current literary culture is the estrangement between poets and critics and reviewers of contemporary poetry on the one hand, and proponents of that loosely defined set of doctrines, methodologies, and interests that goes by the name of “theory” on the other. There are individual exceptions to this on both sides, and one can find counterexamples to every generalization I shall suggest here. Nevertheless, anyone familiar with the climates of opinion to be found in English and philosophy departments, poetry workshops and critical symposia, creative writing and cultural studies programs, and the ­ nonacademic counterparts of these—especially among people in their twenties and thirties—has to acknowledge the lack of acquaintance and interest—and often even the disdain and contempt—that characterizes the relations between poets and those engaged in the kind of high-level, quasi-philosophical reflective activity that literature, and poetry in particular, used to occasion. Illustrations are easy to come by. References to modern poetry by younger theorists are typically confined to the high modernists and to poets canonized twenty or thirty years ago in books like Donald Allen’s New American Poetry or Richard Howard’s Alone with American; and their rare allusions to the poetry of their contemporaries often betray a striking lack of familiarity and taste. Conversely, the fact that eighty years after Ezra Pound called for the breaking of everything breakable, a poet as intelligent and conceptually ambitious as Jorie Graham should title a book The End of Beauty, and have the theoretical outlook evoked by the title hailed as radical by as informed a critic as Helen Vendler, surely suggests that the level of reflective awareness in the poetry community is not what it might be.2 1. Quoted in Peter Brazeau, Parts of a World: Wallace Stevens Remembered—An Oral Biography , p. 43.2. See Helen Vendler, “Married to Hurry and Grim Song,” The New Yorker, 27 July 1987, pp. 74-77. John Koethe is professor of philosophy at the University of Wisconsin, Milwaukee. His most recent book of poetry is The Late Wisconsin Spring