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Michael Palmer (born May 11, 1943) is an American poet and translator. He attended Harvard University where he earned a BA in French and an MA in Comparative Literature.〔(The Flower of Capital (1979) ) reprinted at the Poetry Foundation website where it is labeled 'a poetics essay'. Includes a brief bio sketch.〕 He has worked extensively with Contemporary dance for over thirty years and has collaborated with many composers and visual artists. Palmer has lived in San Francisco since 1969. Palmer is the 2006 recipient of the Wallace Stevens Award from the Academy of American Poets. This $100,000 (US) prize recognizes outstanding and proven mastery in the art of poetry.〔Robert Hass, among those selecting Palmer to receive the award, wrote: "Michael Palmer is the foremost experimental poet of his generation and perhaps of the last several generations. A gorgeous writer who has taken cues from Wallace Stevens, the Black Mountain poets, John Ashbery, contemporary French poets, the poetics of Octavio Paz, and from language poetries. He is one of the most original craftsmen at work in English at the present time. His poetry is at once a dark and comic interrogation of the possibilities of representation in language, but its continuing surprise is its resourcefulness and its sheer beauty." - (Press release from poets.org ) accessed 30 Aug 2009〕 ==Beginnings== Michael Palmer began actively publishing poetry in the 1960s. Two events in the early sixties would prove particularly decisive for his development as a poet. First, he attended the now famous Vancouver Poetry Conference in 1963. This July–August 1963 Poetry Conference in Vancouver, British Columbia spanned three weeks and involved about sixty people who had registered for a program of discussions, workshops, lectures, and readings designed by Warren Tallman and Robert Creeley as a summer course at the University of B.C.〔(Fred Wah’s recordings of the 1963 Vancouver Poetry Conference ), at Slought Foundation website〕 There Palmer met writers and artists who would leave an indelible mark on his own developing sense of a poetics, especially Robert Duncan, Robert Creeley, and Clark Coolidge, with whom he formed lifelong friendships. It was a landmark moment as Robert Creeley observed:
Palmer's second initiation into the rites of a public poet began with the editing of the journal ''Joglars'' with fellow poet Clark Coolidge. ''Joglars'' (Providence, Rhode Island) numbered just three issues in all, published between 1964–66, but extended the correspondence with fellow poets begun in Vancouver. The first issue appeared in Spring 1964 and included poems by Gary Snyder, Michael McClure, Fielding Dawson, Jonathan Williams, Lorine Niedecker, Robert Kelly, and Louis Zukofsky. Palmer published five of his own poems in the second number of ''Joglars'', an issue that included work by Larry Eigner, Stan Brakhage, Russell Edson, and Jackson Mac Low. For those who attended the Vancouver Conference or learned about it later on, it was apparent that the poetics of Charles Olson, proprioceptive or Projectivist in its reach, was exerting a significant and lasting influence on the emerging generation of artists and poets who came to prominence in the 1950s and 1960s. Subsequent to this emerging generation of artists who felt Olson's impact, poets such as Robert Creeley and Robert Duncan would in turn exert their own huge impact on our national poetries (see also: Black Mountain poets and San Francisco Renaissance). Of this particular company of poets encountered in Vancouver, Palmer says: 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Michael Palmer (poet)」の詳細全文を読む スポンサード リンク
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