& why was Crane so completely different? Well, for one thing, he started from Joyce. Anti-Pound, anti-Eliot, almost as much as Stevens was. His Bridge is a pun-soaked "day in the life".

Zuk set himself up as Pound's dialectical flipside (Pound/Zuk, not Olson/Zuk is the real antinomy). But the Mallarmean extremism is not that different from Pound's aesthetic liminality. Wanting to be like Shakespeare : but being a sweet Shakespeare in a kind of muted Joseph Cornell music-box.

Paterson : too much the willed effort? A rush job. Didn't soak the guitar wood long enough. Plays on the surface - drab, prosaic.

No comments: