Abstract

Abstract: Charles Olson defines the image as a poetic material that transforms into a poetic medium. Compared with other poets in the same lineage, Olson incorporates the knowing of the self more thoroughly into this transformation. This is especially manifest in his theory and composition of the glyph, which can be considered a special version of the image transforming the self into a graphic expression. This essay discusses his two glyphs, the E on the Stone and the black chrysanthemum, from the perspective of the Daoist wuzhi or unprincipled knowing. In the former, a perspective-full knowing achieves an innocent mapping between the mortal self and the immortal "you"/God. In the latter, a narrative knowing generates a co-writing of each other's propensities between the self as "you" and the words.

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