prevalent mood of contemporaryAmericanpoetry, in its
late surrealist phase, makes it hard for us to assimilate
Arghezi into our idiom. Then there is simply the impossibility
of translating poetry anyway—but perhaps one should not
worry too much about not bringing over the exact feel and
nature of a foreign poet. An anecdote recounted by George
Seferis is ά propos here. He was up late one night translating
Yeats, till, exhausted and discouraged at a particularly knotty
part, he went to bed. He dreamed, and in the dream he was
told not to worry because he couldn
Beach, Christopher. Poetic Culture: ContemporaryAmericanPoetry between Community
and Institution. Evanston, IL: Northwestern University Press, 1999.
Bell, Charles G. Songs for a New America. Indiana University Poetry Series. Blooming-
ton: Indiana University Press, 1953.
Benamou, Michel. Wallace Stevens and the Symbolist Imagination. Princeton, NJ: Prince-
ton University Press, 1972.
Benét, Stephen Vincent. Foreword to The Deer Come Down, by Edward Weismiller,
7– 8. New Haven, CT: Yale University Press, 1936.
———. Foreword to Theory of Flight, by Murial Rukeyser
House, 1968), 49.
11. All references are to The Collected Poems, 1947-1980 (New York: Harper
& Row, 1984), hereafter CP.
12. Helen Vendler, "A Lifelong Poem Including History," The New Yorker,
62 (13 Jan. 1986): 77-84.
13. Charles Molesworth, The Fierce Embrace: A Study of ContemporaryAmericanPoetry (Columbia, Mo.: University of Missouri Press, 1979), 38—39.
14. Quoted in Richard Howard, Alone with America: Essays on the Art of Poetry
in the United States since 1950 (New York: Atheneum, 1969), 149.
15. Kramer, Ginsberg in America, 115.
16. "If the mind of
of Auden’s in-
fluence, what G. t. Wright wrote more than fifteen years ago nevertheless
remains true: ‘The influence of Auden on contemporaryAmericanpoetry
still has to be studied in detail.’” in Peter Firchow, W. H. Auden: Contexts
for Poetry (newark, De: University of Delaware Press, 2002), 195.
9 John Hollander, “Under Aquarius,” in stephen spender, W. H. Auden: A
Tribute (new york: Macmillan, 1975), 201.
10 charles olson and robert creeley, The Complete Correspondence: Vol. 1,
George F. Butterick, ed. (santa Barbara, cA: Black sparrow Press, 1980
The Vintage Book of ContemporaryAmericanPoetry . He
teaches at Yale, and edits The Yale Review.
HEATHER MCHUGH was born to Canadian parents in San Diego, California, in
1948. She was raised in Virginia, educated at Harvard, and is now the Milliman Dis-
tinguished Writer-in-Residence at the University of Washington. Among her col-
lections are Hinge & Sign: Poems 1968–1993 (1994) and The Father of Predicaments
(1999). A book of essays, Broken English: Poetry and Partiality, appeared in 1993.
She has translated Euripides’ Cyclops, and the poetry of Jean Follain
Modern and ContemporaryAmericanPoetry class. Al Filreis is
the head of the U. Penn Writing Center. His typical class there
is a small seminar, much like Professor Delbanco’s. But he has
33,000 students in his online class. And he gets e-mails from
students that are very similar to what we just heard, about how
these interactions have opened these students’ minds to a new
way of looking at poetry, have allowed them to interact with
their peers in a way that is centered on the course material but
also transcends geographical boundaries, and have