PN Review Print and Online Poetry Magazine
News and Notes
Digital Access to PN Review
Access the latest issues, plus back issues of PN Review with Exact Editions For PN Review subscribers: access the PN Review digital archive via the Exact Editions app Exactly or the Exact Editions website, you will first need to know your PN Review ID number. read more
Most Read... Rebecca WattsThe Cult of the Noble Amateur
(PN Review 239)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Mark FordLetters And So It Goes
Letters from Young Mr Grace
(aka John Ashbery)

(PN Review 239)
Henry Kingon Toby Martinez de las Rivas
(PN Review 244)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Jamie OsbornIn conversation with Sasha Dugdale
(PN Review 240)
Poems Articles Interviews Reports Reviews Contributors
Gratis Ad 1
Monthly Carcanet Books
Next Issue Sasha Dugdale On Vision Yehuda Amichai's Blessing Chris Miller on Alvin Feinman Rebecca Watts Blue Period and other poems Patrick McGuinness's Mother as Spy

This review is taken from PN Review 244, Volume 45 Number 2, November - December 2018.

Cover of The Collected Letters of Charles Olson and J.H. Prynne
Lewis WynnThe spell wore off
Ryan Dobran (ed.), The Collected Letters of Charles Olson and J.H. Prynne (Uni. of New Mexico Press), $75
The Beatles were the first to burlesque him. In the 1968 film Yellow Submarine, John Lennon asks Jeremy Hillary Boob (PhD) whether he must ‘always talk in rhyme?’ The clownish cartoon replies ‘if I spoke prose you’d all find out, I don’t know what I talk about! Ad hoc, ad loc, and quid pro quo: so little time, so much to know!’ Whether he was really based on J.H. Prynne or not, Dr Boob rehearses a complaint that has dogged the poet’s reception: there’s just so much to know. (Mr) Prynne’s work is notoriously dense, and its ‘difficulty’ has been located in a gap between what he knows and his readers don’t, between the breadth of allusion occasioned by his poems and the amount of labour requisite for ‘getting’ them. Specialised or technical vocabulary; a wide array of reference; ‘contorted’ syntax – the damages are listed and the charge arrives on cue: ‘how can a reader be expected to know so much?’ It’s a gripe that used to hang around Charles Olson, too. In both cases, the apparently innocent question fronts for a demand: show us only what we know. But the difficulty of their poetry is really a formal analogue for the belief that alienation won’t be overcome by being thematised, no matter how wittily; a resistance to (modern) poets depicting their lot in various shades of pathos, ‘only what we know’ refracted under the sun of personality – quid pro quo, ad infinitum. But engaging with the parody at all can hinder thinking: these heuristics match the poets ...


Searching, please wait... animated waiting image