In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN…[Read more]

In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN…[Read more]

In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN…[Read more]

In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h…[Read more]

In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h…[Read more]

In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h…[Read more]

In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h…[Read more]

In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h…[Read more]

Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maxim…[Read more]

Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maxim…[Read more]

Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maxim…[Read more]