Poems, Fiction & Music for/with/about LZ

The following is a list of poems that are addressed to, dedicated to, refer to or quote LZ. At the bottom there is also a list of books dedicated to LZ, plus a few additional curiosities, including music composed for LZ’s poems. The guiding principle of inclusion is those poets who knew or responded to LZ during his lifetime or shortly after his death, although this has been stretched to include later poems by poets who knew LZ. It would be of interest to list all original journal publications, although often that information is not readily available to me. The list is certainly incomplete, so suggested additions are appreciated. 

 

Asa Beneviste. “Infield Outfield.” Throw Out the Life Line, Lay Out the Corse (1983); The New British Poetry 1968-88, eds. Gillian Allnutt, et. al. (1988): 135-136.

Henry Birnbaum. Orizons.” Poetry 94.3 (June 1959): 156-163.

Paul Blackburn. “Two Flowers.” Early Selected Y Mas: Poems 1949-1966 (1977).

___. “Affinities III” (1963?). Selected Poems (1989): 109.

___. “Motivations I.” In . On . Or About the Premises (1968).

___. “A Dull Poem (for L.Z.).” In . On . Or About the Premises (1968).

Robin Blaser. “Bottom’s Dream.” Charms (1964-68); The Holy Forest 130.

___. “The Finder.” Charms (1964-68); The Holy Forest 131-132.

___. “Out of the Window.” Charms (1964-68); The Holy Forest 133.

___. “Image-Nation 18 (an apple.” Pell Mell (1988); The Holy Forest 249.

___. “Robert Duncan” (1988). The Holy Forest 335.

David Bromige. My Poetry (1980).

John Cage. “James Joyce, Marcel Duchamp, Erik Satie: An Alphabet” XXVII. X: Writings ’79-’82 (1983): 91-92.

Cid Corman. “So ‘many things’ or.” Grossteste Review (Winter 1970); At Their Word: Essays on the Arts of Language Vol. II (1978): 30.

Robert Creeley. “The House.” Trobar 2 (1961); For Love (1962): 139; The Collected Poems 1945-1975 (1982): 237.

___. “As real as thinking.” Pieces (1968): 3; The Collected Poems 1945-1975 (1982): 379.

___. A Day Book (1972): [50, 53]; Collected Prose (2001): 310, 313. 

___. “The.” American Poetry Review 5.6 (Nov.-Dec. 1976) [“After Zukofsky”]; Hello: A Journal, Feb. 29-May 3, 1976 (1978): 60; The Collected Poems 1975-2005 (2006): 64. 

___. “Touchstone.” Later (1978): 107; The Collected Poems 1975-2005 (2006): 173.

___. “Klaus Reichert and Creeley Send Regards.” Windows (1990): 128; The Collected Poems 1975-2005 (2006): 373.

___. “Goodbye,” “Signs,” “Life & Death [‘In the Diamond…’].” Life & Death (1998): 35, 60, 71; The Collected Poems 1975-2005 (2006): 494, 512, 522 [in all three poems Creeley gives a quotation he ascribes (twice) to LZ, although as he knew the original source was Erik Satie (see Creeley’s introduction to “A” 1-12 (1967; in Collected Essays (1989): 67))].

Edward Dahlberg. “For Louis Zukofsky.” Poetry 78.5 (Aug. 1951): 278-279.

Guy Davenport. “1880 (From the Hebrew of Harold Schimmel).” Conjunctions 4 (1983): 38-50; Thasos and Ohio (1985): 103-116.

Michael Davidson. “Cultural Morphology for L. Z.” The Prose of Fact (1981): 54.

Robert Duncan. “The Effort” (1949). The Collected Early Poems and Plays (2012): 281-297.

__. “For A Muse Meant.” Black Mountain Review 1.3 (1954); Letters: Poems 1953-1956 (1958); The Collected Early Poems and Plays (2012): 639-643.

___. “After Reading BARELY AND WIDELY.” The Opening of the Field (1960): 88-92; The Collected Later Poems and Plays (2014): 80-84.

___. “Jamais (Passages).” New Poetry 24.1 (1976); New Directions 34 (1977); Ground Work: Before the War (1984): 147-148; The Collected Later Poems and Plays (2014): 592-594.

___. “With In (Passages).” Ground Work II: In the Dark (1987): 71; The Collected Later Poems and Plays (2014): 712-713.

Frederick Eckman. “For Z” [dated August 1978]. Sagetrieb 16.1/2 (Spring/Fall 1997).

Theodore Enslin. “A Paper for LZ.” Papers (1976).

___. “Synthesis 13.” MAPS 5 (1973): 104-130; Synthesis 1-24 (1975).

___. Ranger (Vol. 1) (1980): 276, 325.

Ian Hamilton Finlay. “Such Is the World.” Origin 6, 2nd series (1962); Selections (2012): 128-129.

___. Boats of Letters. Private Tutor 12, Tarasque Press (May 1970) [broadside].

Allen Fisher. “Flashing Past yer / After Louis Zukofsky.” Montemora 2 (Sum 1976): 105; Place (2005): 161.

___. “Pass word the salt / After Louis Zukofsky.” Place (2005): 160.

Kenneth Irby. “[requiem etudes . for Louis Zukofsky]” (1978). The Paris Review 86 (Winter 1982): 124-125; Call Steps (1992): 97.

Ronald Johnson. “Lilacs, Portals, Evocations.” A Line of Poetry, A Row of Trees (1964); Valley of Many-Colored Grasses (1969): 71-73.

___. “W A N E” and “f a l l a l l a l l a.” Songs of the Earth (1970); To Do as Adam Did: Selected Poems of Ronald Johnson, ed. Peter O’Leary (2000): 74, 76.

___. “Ark 34, Spire on the death of L. Z.” Paideuma 7.3 (1977); Ark 50 (1984): 1-3; Ark (1996).

___. “Ark 58, Balloon on Being 50.” Ark (1996).

Robert Kelly. “Summertime.” The Mill of Particulars (1977): 107.

___. “Ode on the Two Hundredth Birthday of this Commonwealth.” Kill the Messenger (1979): 70-73.

___. “A Book of Solutions.” Kill the Messenger (1979): 205.

___. “Measure.” A Strange Market (1992): 32-33.

Jackson Mac Low. “5 Poems from and for Louis Zukofsky” (1963).

Thomas Meyer. A Valentine for L.Z. [Aux Champs-Elysées]. Jargon Society, 1979 [broadside].

Prentiss Moore. “Louis Zukofsky / d. May 1978.” The Garden in Winter and Other Poems (1981).

Edwin Morgan. “Nine One Word Poems: Homage to Zukofsky.” Poor.Old.Tired.Horse 27 (1967); Dreams and Other Nightmares: New and Uncollected Poems 1954-2001 (2010).

___. “An Unpublished Poem by Zukofsky.” The Second Aeon (?1971-1973); Newspoems (1987); Themes on a Variation (1988).

Lorine Niedecker. (L.Z.)” (1945). Collected Works (2002): 125.

___. “If I were a bird” (1951?). Collected Works (2002): 130-131.

___. “Letter from Paul” (1951). Collected Works (2002): 132.

___. “Understand me, dead is nothing” (1950). New Directions 12 (1950); Collected Works (2002): 138-139.

___. “Your father to me in your eighth summer” (1951). Quarterly Review of Literature 8.2 (1955); Collected Works (2002): 146.

___. “Dear Paul:” (1951). Quarterly Review of Literature 8.2 (1955); T&G (1969); My Life by Water (1970); Collected Works (2002): 153-154.

___. “They live a cool distance” (1955). Quarterly Review of Literature 8.2 (1955); Collected Works (2002): 160-161.

___. “Violin Debut” Collected Works (2002): 161.

___. “LZ’s” (1964). Collected Works (2002): 206-207.

___. “LZ” (1969). Origin, 3rd series 12 (1969); Collected Works (2002): 289-290.

George Oppen. “Visit” 2 (c.1960). New Collected Poems (2002): 330-331

___. “The Lighthouses.” Myth of the Blaze (1975); New Collected Poems (2002): 256-257.

Joel Oppenheimer. “For Louis Zukofsky 1904-1978.” New Spaces (1978); Collected Later Poems (1997): 230.

___. “The Way We Were.” New Spaces (1978); Collected Later Poems (1997): 231-233.

Michael Palmer. “For L.Z.” Blake’s Newton (1972); The Lion Bridge (2009): 7.

___. “Notes for Echo Lake 1.” Notes for Echo Lake (1981): 3-6.

Ezra Pound. “Old Zuk.” European (Jan. 1959); Poems and Translations (2003): 1200.

Carl Rakosi. “The Gnat (A greeting to Louis Zukofsky).” The Windsor Quarterly 1.2 (Summer 1933): 138-139; Amulet (1967): 7.

Kenneth Rexroth. “The Sufficient.” New Directions 4 (1939); Collected Shorter Poems 54-55; Complete Poems (2003): 90-91.

Jerome Rothenberg. “The Diary of a Seducer.” The Gorky Poems (1966), Poems for the Game of Silence (1971): 98-99.

___. “Two More About a Crow, in the Manner of Zukofsky.” Poems for the Game of Silence (1971): 137; Shaking the Pumpkin: Traditional Poetry of the Indian North Americas (1972): 25.

___. “Autobiography 1997.” A Paradise of Poets (1999): 43-47.

Aram Saroyan. “Placitas, for L.Z.” Lines 2 (Dec. 1964).

Ron Silliman. Tjanting (1981).

Gilbert Sorrentino. Zukofsky.” The Orangery (1978): 17; Selected Poems 1958-1980 (1981): 207.

Jack Spicer. “Conspiracy.” A Book of Music (1959); My Vocabulary Did This to Me (2008): 177-178.

George Stanley. “The Gifts of Death.” Open Space 6 (1964); You: Poems 1957-67 (1974); A Tall, Serious Girl: Selected Poems 1957-2000 (2003): 71-76.

John Taggart. “In Itself.” Loop (1991): 205.

___. “Grey Scale/Zukofsky.” There Are Birds (2008); Is Music: Selected Poems (2010): 297-307.

Charles Tomlinson. “To Louis Zukofsky.” Kulchur 4 (1964): 13-15, Agenda 3.6 (Dec. 1964), New Directions 39 (1979): 175-177.

Jonathan Williams. “An Objectivist’s Anthology.” From 50! Epiphyties,-taphs,-tomes,-grams,-thets! 50! (1967), in An Ear in Bartram’s Tree (1969).

___. “Symphony No. 7, in B Minor.” Mahler (1969); Jubilant Thicket: New and Selected Poems (2005): 80.

___. “‘Endless Melody’ Starring:” The Loco Logodaedalist in Situ: Selected Poems 1968-70 (1971): n.p.

William Carlos Williams. “To My Friend Ezra Pound.” Neon (1956); Collected Poems of WCW Vol. II (1988): 434.

 

Books dedicated to LZ

Robert Creeley. Pieces (Scribner’s, 1969).

___. So There: Poems 1976-83 (New Directions, 1998).

Guy Davenport. Da Vinci’s Bicycle: Ten Stories (Johns Hopkins UP, 1979).

Robert Kelly. Axon Dendron Tree (Asphodel Bookshop/Salitter, 1967).

Ezra Pound. Guide to Kulchur [with Basil Bunting] (1938)

Charles Reznikoff. Testimony [prose version] (The Objectivist Press, 1934)

John Taggart. The Pyramid Is a Pure Crystal (Elizabeth Press,1974). A section of this poem, also dedicated to LZ, was published as Pyramid Canon (Burning Deck, 1973).

Jonathan Williams. The Empire Finals at Verona (Jargon, 1959).

William Carlos Williams. The Wedge (Cummington Press, 1944).

 

Some additional curiosities:

Stan Brakhage. 23rd Psalm Branch (1966-1967), silent 69 mins. [both LZ and CZ appear briefly in the first part of this anti-war film, as well as repeated glimpses of the second line of “A”-11 and of a bedspread made by CZ]. For commentary that discusses the appearance of the Zukofskys and “A”-11 in some detail, see R. Bruce Elder, “Intertext in Stan Brakhage’s 23rd Psalm Branch.”

Fielding Dawson. “Straight Lines.” The Dream/Thunder Road: Stories & Dreams 1955-1965 (1972): 111-114; Krazy Kat & 76 More: Collected Stories 1950-1976 (1982): 209-211 [a story in which LZ figures prominently].

Valeria Luiselli. Faces in the Crowd (2012, English trans. 2014). [LZ appears as the character Joshua Zvorksy].

Henry Miller. “Jabberwhorl Cronstadt” in New Direction 1936; collected in Black Spring (1936) and The Cosmological Eye (1939). [In a 10 Dec. 1942 letter to Carl Rakosi (HRC 20.12), LZ mentions having once met Miller, who expressed admiration for “Song 22” (“To my wash-stand”) and parodied it in the concluding pages of his story, which is a fictionalized portrait of his friend Walter Lowenfels (1897-1980), who LZ also knew].

Stephen Seley. Baxter Bernstein: A Hero of Sorts (Scribners, 1949). [LZ apparently worked with Seley (1915-1982) at some point and they stayed in touch. The novel mentions LZ by name and according to Barry Ahearn a number of lines from “Poem beginning ‘The’” float through the protagonist’s mind, along with a good deal of other literature (see WCW/LZ 395-396)].

Music

The earliest and most significant music written to LZ’s poetry was the various settings by CZ, composed between 1940-1952. These settings with relevant poems were often sent out as home-made Christmas cards. Most, if not all of these settings were gathered together as LZ’s Autobiography (1970), handsomely printed by Grossman.

Elliott Carter. “Poems of Louis Zukofsky: for soprano & clarinet in B-flat” (2008). Uses nine poems: “Tall and singularly dark” [Poem 18], “Alba (1952),” “Finally a Valentine,” “O sleep, teh sky goes down behind the poplars” [Poem 21], “The rains, the rains” [Anew 28], “Rune” [from “Jaunt”], “Strange” [Anew 36], “Daisy,” “You who were made for this music.” For commentary, see Ray Ragosta, “Textures and Contasts: Elliott Carter’s Poems of Louis Zukofsky.” Chicago Review 58.3/4 (Summer 2014): 187-198.

Jo Kondo. “Four Short Poems by Louis Zukofsky: for mezzo-soprano, alto flute, viola, percussions, electric guitar” (2006). Using “I Sent Thee Late,” “A Valentine,” “Anew,” “Gamut.”