American postmodern poetry revived the international collage line via Black Mountain

Evidence

The key-note essay in the first issue, by David Antin, was entitled: ‘Modernism and Post-Modernism: Approaching the Present in American Poetry’. Antin raked the whole canon running from Eliot and Tate to Auden and Lowell, with glancing fire even at Pound, as a surreptitiously provincial and regressive tradition, whose metrical-moral propensities had nothing to do with genuine international modernism — the line of Apollinaire, Marinetti, Khlebnikov, Lorca, Jozsef, Neruda — whose principle was dramatic collage. In post-war America, it was the Black Mountain poets, and above all Charles Olson, who had recovered its energies. — Perry Anderson, The Origins of Postmodernity, 50

Categorization

• XREF: Connects to later Jameson chapter structure — Anderson tracing postmodernism’s pre-Jameson genealogy — connects to: Collage and montage serve as the primary form of postmodern discourse. — David Harvey, The Condition of Postmodernity: An…, 346; Postmodernism elevates modernist aberrations into its dominant cultural logic — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 216
• DEFINE: Establishes the early American use of ‘postmodern’ as a poetic category tied to Olson’s projective verse

Broader Connections

• Collage and montage serve as the primary form of postmodern discourse. #expands (0.85) — David Harvey, The Condition of Postmodernity, 346
• Postmodernism elevates modernist aberrations into its dominant cultural logic #expands (0.72) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 216