Abstract
Having returned to poetry in 1965 after a twenty-five year silence, Carl Rakosi continues to enjoy a chiefly avant-garde reputation. Associating him with the so called Objectivist Group of the thirties, which included Louis Zukofsky, George Oppen and Charles Reznikoff, New Directions brought out a collection of his work, Amulet, in 1967, and his poetry has continued to appear in various little magazines. Like the other members of the group, which was held together more by financial necessity than by a common program, Rakosi has reluctantly ac cepted the Objectivist label. And, also like the others, he has done so because he has been able to interpret the term to suit his own aesthetic inclinations:
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