Frank O'Hara, for example, condemned the Black Mountain addiction to 'the serious utterance, which isn't particularly desirable most of the time', seeing in Charles Olson's Maximus Poems a congested neo-Poundian gravitas that could only sit in the reader's way.[7]

however O'Hara surges to the forefront of the current generation's consideration of the NY School, I'm thinking Davis & Mlinko, for example, also Lee Ann Brown's first book (I don't have her second -- she forgot to send it to me, ah well, she has a kid & is busy), failing to include a measure of if not gravitas than some measure of explicit seriousness, perhaps most easily thru literary theory, but there are other ways, is a good way to assure poems not getting read at all; check out even the reception of LOCKET, which is, frankly, way less NY School than much of my work -- it would seem it is nearly meaningless, while the meaning is so very obvious compared to the poems in my first book, while even those poems, the less serious ones are less read or less mentioned, ex. one might think the fashion designer poems don't exist; and even thenew book, it is the heavier poems that are put into print -- it is not that those lighter on the surface lack juice -- I guess they don't scream "read me' from the pile, since their very purpose is somewhat deflected from being in a big thick book on a shelf somewhere


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