1ĢThe poetry of Ronald Johnson (1935-1998) also deals with the monumental, but engages with the parameters of American canonicity in a more frontal way than does that of Williams, and has been rewarded with a far greater degree of critical attention. Lovecraft, with a particular emphasis on the graves of the poets and the folk artists whose work he continually promoted. His poetry, both found and original, is often in epitaphic form, while his volumes of photography contain prints of dozens of graves of admired writers, artists and musicians, from Jelly Roll Morton to H. Across the various forms of his work, Williams attends repeatedly to monuments, notably gravestones. ![]() ![]() His poetry is distinguished from that of many of his contemporaries in the apparent modesty of its ambition he seems never to have attempted a long poem, works extensively with procedural and ludic compositional processes, and in the found poetry for which he became best known as a poet effectively cedes page space to other, often named, speakers and writers. 1 A feature on Williams, gathering Davenport’s introduction and much other material, including valua (.)ġDespite the bold incipit of Guy Davenport’s 1969 introduction to his work-“Jonathan Williams, poet”-Williams (1928-2008) has always been as well known for his other activities as for his poetry: as the founder of the independent American press Jargon Books, as the publisher and advocate of a wide range of experimental poets including Charles Olson, Mina Loy and Lorine Niedecker, as a collector of quotations, a photographer, a writer on photography and folk art.
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