What is it about?
This article looks at Robert Duncan's radical re-reading of Ezra Pound and "high modernism" through the lens of Daniel Tiffany's work on kitsch as well as psychoanalysis, in order to discuss the political possibilities of Duncan's stance. This latter topic is discussed mostly in the second half of the paper, by way of an analysis of "Bending the Bow" in relation to both the Berkeley Free Speech Movement and anti-Vietnam protests. A final section extends the questions raised by Duncan's work to May 1968, and Lacan's reading of the famous slogan "Structures don't take to the streets."
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Perspectives
This article forms part of a larger project on poetry and political subjectivity in the 20th and 21st centuries, which will also examine Yeats, Neruda, and García Lorca, before moving on to post-war poets, including Bob Kaufman, Denise Riley, and several others.
Daniel Katz
University of Warwick
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This page is a summary of: Robert Duncan and the 1960s, Qui Parle, June 2018, Duke University Press,
DOI: 10.1215/10418385-4383019.
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