Abstract
This article is an account and analysis of syntax in 80 Flowers, Louis Zukofsky’s final book of poems. Characterized by slippery phrases, elusive kernels and the use of words with several grammatical functions, Zukofsky’s late syntax forces the reader to constantly reconsider snatches of emerging meaning. The numerous transliterations compel meaning to surface via voice and ear, pulling syntax closer to the senses, while the meter, based on word count, is stripped of sensuous expression, made purely intellectual. The many invented compounds also pertain to syntactic development and may question Zukofsky’s former “objectivist” assumptions.
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