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“... object is to transmute matter into spirit. ‘Writing is primarily an experience of language,’ Robert Creeley said, and Popa reaches back to the folk tradition of riddles, charms, proverbs, nursery rhymes and exorcisms for clues about how to make poems. What he is after are the eyes and ears of the anonymous folk poet who could hear flowers ...”

“... declared, quoting Pasternak. Here she distinguished herself from her contemporaries: poets like Robert Creeley, Jack Spicer and Paul Blackburn often harked back to fraternal tropes of the knight, troubadour, jongleur. Never king. Guest’s origins were anything but kingly: born in North Carolina in 1920, she was shuffled around from town to town in ...”

“... for example, from the gamy, compulsively readable anecdotage of late Berryman, in Love and Fame. Robert Creeley (much derided by Berryman), Richard Wilbur, Robert Bly and A.R. Ammons share something of this verbal standoffishness, but Ashbery is better at it than they are and uses it in more diverse and interesting ...”

“... As a boy, Robert Duncan had a recurring dream. He would imagine himself in the middle of a treeless field. The ripe grass rippled, though there was no wind, and the light, as he later remembered, ‘was everywhere’, though there was no sun to be seen. Seeing himself in the centre of a circle of children, all of them singing and playing ‘Ring a Ring o’ Roses’, Duncan understood that he was ‘it’: ‘the Chosen One … a “King” or victim of the children’s round dance ...”

“... by more than half the 35 contributors, few of whom bother to make it clear whether they mean Robert Lowell, or Allen Ginsberg, or the Black Mountain imitators of William Carlos Williams. ‘The Liverpool Poets’ are regarded with a mixture of fear and derision. ‘The ranks of the illiterate raise puerile and rhythmless voices,’ wrote Roy ...”

“... Delmore Schwartz, Truman Capote (on Kerouac: ‘that’s not writing, that’s type-writing’), Robert Brustein and James Dickey (‘Howl is the skin of Rimbaud’s Une Saison en Enfer thrown over the conventional maunderings of one type of American adolescent, who has discovered that machine civilisation has no interest in his having read Blake’). Riding ...”

“... sorts of American writers: the young Allen Ginsberg paid him homage and copied his style, while Robert Lowell, for example, looked to Williams for a freer, more democratic manner than his rivals could offer. Though he remains an acquired taste in Britain, Williams’s position in American poetry, at least, seems assured. That position rests, above all ...”

“... Akers, Peter Abbs, John Hodgen, Andrew Motion, Edwin Drummond, Gregory Harrison, Gordon Mason and Robert Ballard, Isabel Nathaniel and Peter Didsbury, Anthony Edkins and Brian Cosgrove. Several get prizes, and in particular Andrew Motion gets the big one, £5,000, for a poem that either is, or successfully if pointlessly pretends to be, documentary ...”

“... or cultivate the young, and he fell in with a new generation of poets in the 1960s, including Robert Duncan and Robert Creeley, but he was not entirely at home with the spirit of the decade, or the radicalism of the New Left. His wonderful letters, in which he thinks on his fingers, clattering away with a freedom ...”

“... imitating her squint against sunlight. The writers she is most directly associated with – Robert Creeley and Ed Dorn – were of the Black Mountain School, but she seems somehow to have more to do with the Beats, perhaps because she was always on the run; perhaps because of the drug addiction of her third husband, Buddy Berlin; perhaps because ...”

“... of the presiding literary spirits when Brautigan arrived in town would have been Kenneth Rexroth, Robert Duncan and Jack Spicer (to whom Trout Fishing In America is dedicated). Writers such as Ginsberg, Kerouac, Corso, Snyder, Creeley would also have been moving through at this point, but the so-called Beat Scene was not ...”

“... space had once been a community art venture called King Ubu, operated by the Black Mountain poet Robert Duncan and his collagist partner Jess Collins. Duncan, removing his clothes at the conclusion of his verse play Faust Foutu, in order to demonstrate the meaning of nakedness, anticipated by a decade or so the Ginsberg party trick that shocked John Lennon ...”