"The prominent literary critic Marjorie Perloff has recently begun using the term 'unoriginal genius' to describe this tendency emerging in literature. Her idea is that, because of changes brought on by technology and the Internet, our notion of the genius—a romantic, isolated figure—is outdated. An updated notion of genius would have to center around one's mastery of information and its dissemination. Perloff has coined another term, 'moving information,' to signify both the act of pushing language around as well as the act of being emotionally moved by that process. She posits that today's writer resembles more a programmer than a tortured genius, brilliantly conceptualizing, constructing, executing, and maintaining a writing machine." --Kenneth Goldsmith on why "genius" is an archaic concept, and how literature in English has fallen half-a-century behind advances in visual arts and music
[Ezra Pound] worked on and for poetry as others might work on a major scientific discovery or a drawn-out military mission. Thus, as Sieburth reminds us in his introduction to The Pisan Cantos, when, on May 3, 1945, Pound was arrested at his home in the hills above Rapallo, he immediately put a small Chinese dictionary and a copy of the Confucian classics in his pocket. Working as he then was on his Confucian translations, he knew that, wherever the military police were taking him, he would need these books.From Pound Ascendant by Marjorie Perloff. Ezra Pound's ability as a translator of Chinese poetry has long been disparaged by sinologists, such as George A. Kennedy in Fenollosa, Pound and the Chinese Character. Other academics have sought to defend him. Two examples are Zhaoming Qian's Ezra Pound's encounter with Wang Wei: toward the "ideogrammic method" of the Cantos and Stephen Tapscott's In Praise of Bad Translations: Ezra Pound and the Cultural Work of Translation (pdf). Eric Hayot draws the contours of this long-running debate and explores its significance in Critical Dreams: Orientalism, Modernism, and the Meaning of Pound's China. Pound's Cathay in full and a public domain audiobook version (iTunes link).
"Not until I put them there." David Antin worked in a wide range of innovative modes until landing in the early 1970s on what he calls the talk poem. Antin speaks extemporaneously and then transcribes his talks using only space as punctuation. The implications of positioning these works as poetry are, of course, part of the point.