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"My / Eye Locked in / Self Sight": The Self-Portrait Poems of Robert Creeley's Words

"My / Eye Locked in / Self Sight": The Self-Portrait Poems of Robert Creeley's Words ALEXANDRA J. GOLD “My / Eye Locked in / Self Sight”: The Self-Portrait Poems of Robert Creeley’s Words f Frank O’Hara “is almost certainly the subject of more por- traits than any other poet of the twentieth century,” as Brian Glavey relays in a beautiful essay on the “statuesque” New York School poet, then Robert Creeley is second in line (782). Featured in numerous portraits by visual artists like Francesco Cle- mente and R. B. Kitaj, and in photographs by Elsa Dorfman, Jon- athan Williams, and others, Robert Creeley should, as John Yau notes, “rightfully be called a ‘poet among painters’” (Perlo, ff qtd. in Yau 47). As perceptive readers like Yau and Charles Altieri as well as Creeley’s own wide-ranging art criticism suggest, the plastic arts have been central to his poetic imaginary. Inspired by an early resi- dence in Europe where he had, as he writes in “On the Road,” “come to know some painters, like they say”―including a rapturous intro- duction to abstract expressionism―and by a brief tenure at Black Mountain College, where he taught alongside leading experimental g fi ures in dance, music, and film, Creeley grew enamored of the “energy” and “viability” in these http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Contemporary Literature University of Wisconsin Press

"My / Eye Locked in / Self Sight": The Self-Portrait Poems of Robert Creeley's Words

Contemporary Literature , Volume 62 (1) – Mar 10, 2022

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Publisher
University of Wisconsin Press
Copyright
Copyright © Board of Regents of the University of Wisconsin.
ISSN
1548-9949

Abstract

ALEXANDRA J. GOLD “My / Eye Locked in / Self Sight”: The Self-Portrait Poems of Robert Creeley’s Words f Frank O’Hara “is almost certainly the subject of more por- traits than any other poet of the twentieth century,” as Brian Glavey relays in a beautiful essay on the “statuesque” New York School poet, then Robert Creeley is second in line (782). Featured in numerous portraits by visual artists like Francesco Cle- mente and R. B. Kitaj, and in photographs by Elsa Dorfman, Jon- athan Williams, and others, Robert Creeley should, as John Yau notes, “rightfully be called a ‘poet among painters’” (Perlo, ff qtd. in Yau 47). As perceptive readers like Yau and Charles Altieri as well as Creeley’s own wide-ranging art criticism suggest, the plastic arts have been central to his poetic imaginary. Inspired by an early resi- dence in Europe where he had, as he writes in “On the Road,” “come to know some painters, like they say”―including a rapturous intro- duction to abstract expressionism―and by a brief tenure at Black Mountain College, where he taught alongside leading experimental g fi ures in dance, music, and film, Creeley grew enamored of the “energy” and “viability” in these

Journal

Contemporary LiteratureUniversity of Wisconsin Press

Published: Mar 10, 2022

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