Classic and Contemporary Poetry: Explained

Charles Olson’s "Later Note on Letter #15" is a philosophical and historical meditation on the evolution of poetics and the ways in which language, history, and perception intersect with human action and thought. This dense and reflective text critiques the reduction of poetics to static forms and advocates for a dynamic, experiential approach to understanding both art and existence. Olson situates his discussion within a broad intellectual framework, referencing historical figures and philosophical concepts to explore how poetics might reclaim its vitality.

The poem opens with a critique of English poetics post-1630, describing it as having become "meubles—furniture." This metaphor of furniture suggests that poetics had become ornamental, static, and functional rather than dynamic and alive. Olson attributes this shift to the Cartesian worldview, where Descartes? emphasis on rationality and the separation of mind and body introduced a mechanistic and anthropocentric perspective. The phrase "after Descartes was the value until Whitehead" implies a long period in which poetics—and, by extension, thought—was constrained by this limited framework, emphasizing man as the sole measure of meaning and value.

Olson contrasts this with Alfred North Whitehead, whom he credits with "clearing out the gunk by getting the universe in." Whitehead’s process philosophy, which emphasizes interconnectedness and the dynamic nature of events, serves as a corrective to the anthropocentric focus Olson critiques. By "getting the universe in," Whitehead moves away from a human-centered perspective, reintroducing a sense of cosmic scale and relationality. Olson’s invocation of Whitehead signals a turn toward a poetics that acknowledges the interplay of individual experience with universal forces.

The poem juxtaposes this philosophical shift with a return to Herodotus, the ancient Greek historian whose approach to history Olson champions. Herodotus’s concept of history, "istorin," is described as "a verb, to find out for yourself." This active, experiential mode of engagement stands in stark contrast to the static, recorded forms of history Olson associates with Thucydides or modern technology like "the latest finest tape-recorder" or "live television." Olson critiques these forms as inherently reductive, capturing only surface appearances rather than the deeper truths of lived experience.

Central to Olson’s argument is the idea of "self-action," which he equates with the "dream." This "dream" is not an illusion or fantasy but a process of discovery and engagement that is deeply personal and active. Olson asserts that "we act somewhere at least by seizure," suggesting that human action is driven by moments of intense, transformative engagement with reality. This stands in opposition to the objective recording of events, which he dismisses as "a lie as against what we know went on." The tension between recorded history and lived experience becomes a central concern of the poem, with Olson privileging the latter as more authentic and meaningful.

The poem’s exploration of "self-action" leads to an acknowledgment of Whitehead’s crucial insight: "that no event is not penetrated, in intersection or collision with, an eternal event." This statement underscores the interconnectedness of all occurrences, suggesting that individual actions and events are always part of a larger, timeless context. This idea aligns with Olson’s broader poetics, which seeks to integrate the particular with the universal, the immediate with the eternal. The "eternal event" represents a cosmic or metaphysical dimension that infuses every moment with significance, challenging the notion of isolated or purely objective occurrences.

Olson concludes with a call to action: "The poetics of such a situation are yet to be found out." This line serves as both an acknowledgment of the work that remains to be done and an invitation to engage in the exploration of new poetic forms and practices. Olson’s poetics reject static definitions and instead embrace a dynamic, process-oriented approach that values discovery, engagement, and the interplay of individual and universal forces.

Structurally, the poem is conversational and fragmented, reflecting Olson’s preference for open form and his resistance to conventional poetic structures. The syntax is dense and elliptical, requiring the reader to actively engage with the text to unpack its meanings. This mirrors Olson’s emphasis on discovery and self-action, as the reader is compelled to participate in the process of making sense of the poem.

"Later Note on Letter #15" is a deeply intellectual and challenging work that critiques the reductive tendencies of recorded history and static poetics. By invoking figures like Herodotus, Thucydides, and Whitehead, Olson situates his poetics within a broad historical and philosophical context, advocating for a dynamic, experiential approach to both art and life. The poem ultimately serves as a manifesto for a new kind of poetics—one that embraces the complexity and interconnectedness of existence while resisting the temptations of stasis and reduction.

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