This essay attempts to take the measure of Robert Creeley's some sixty-year commitment to poetry as a medium for tracking the processes of thinking and speaking, not for the production of finished thoughts. By reading Creeley against Wallace Stevens, I hope to both identify the significant formal signatures of Creeley's poetry and to document how a projectivist poetics attempted to distinguish itself from an influential modernist predecessor, a poetic reorientation inseparable from the history of boundary 2.

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