Figures for "Postwar American Poetry in the Age of Digital Audio Archives."

Figure 1. Audio archives of postwar American poetry. A total of 1,441 poets are represented at Elliston (405 poets), PennSound (641 poets), and Voca (607 poets). The size of a node corresponds to the number of its edges, or its degree of connection.

Figure 2. Collaborative network of audio archives and anthologies of the postwar period. 1,518 poets are represented in these 61 anthologies, and among them, 175 poets are in Elliston, 272 in PennSound, and 262 in Voca.

Figure 3. In red: Donald Allen’s The New American Poetry (1960). In Blue: John Ciardi’s Mid-Century American Poets (1950), George P. Elliott’s Fifteen Modern American Poets (1956), and Donald Hall, Robert Pack, and Louis Simpson’s New Poets of England and America (1957).

Figure 4. Language Writing anthologies.

Figure 5. Broker anthologies of the postmodern network: In red, Douglas Messerli’s From the Other Side of the Century: A New American Poetry 1960-1990 (1994); in blue, Paul Hoover’s Postmodern American Poetry: A Norton Anthology (1994).

Figure 6. PennSound with the postmodern network.

Figure 7. Elliston and Voca with the postmodern network.

Figure 8. Elliston and Voca with the mainstream poetry network.

Figure 9. Timeline of poets from Daniel Halpern’s The New Poetry Anthology (1975) and Dave Smith and David Bottom’s The Morrow Anthology of Younger American Poets (1985). Only the first year of appearance at Elliston and at Voca is recorded in the figure.

Figure 10. New Formalism at Elliston and Voca. Timeline of poets from Robert Richman’s The Direction of Poetry: An Anthology of Rhymed and Metered Verse Written in the English Language Since 1975 (1988), Mark Jarman and David Mason’s Rebel Angels: 25 Poets of the New Formalism (1990), and Annie Finch’s A Formal Feeling Comes: Poems in Form by Contemporary Women (1994).

Figure 11. The Black Arts Movement. Representative poets of the movement are highlighted.

Figure 12. Timeline of the Black Arts Movement in Elliston and Voca.

Figure 13. Poetry from the women’s movement in the audio archives.

Figure 14. Timeline of poetry from the women’s movement in Elliston and Voca.

Figure 15. Annie Finch’s A Formal Feeling Comes: Poems in Form by Contemporary Women (1994) brokers the network between women’s poetry and New Formalism.

Figure 16. The avant-garde/innovative women poets in the postmodern network: Maggie O’Sullivan’s Out of Everywhere: Linguistically Innovative Poetry by Women in North America & the UK (1996) and Mary Margaret Sloan’s Moving Borders: Three Decades of Innovative Writing by Women (1998).

Figure 17. Betweenness centralities of anthologies and audio archives. The size and shading of a node corresponds to its degree of betweenness relative to other nodes.

Figure 18. Anthologies of emergent poets in the twenty-first century

Figure 19. Timeline of emergent poets of the twenty-first century at Elliston and Voca.

Figure 20. Reginald Shepherd’s The Iowa Anthology of New American Poetries (2004) and Lyric Postmodernisms: An Anthology of Contemporary Innovative Poetries (2008).

Figure 21. Textbook anthologies of contemporary American poetry published by Wesleyan University Press, 2002-2020.

Figure 22. Cole Swensen and David St. John’s American Hybrid: A Norton Anthology of New Poetry (2009).

Figure 23. Collaborative network of twenty-first century anthologies and the audio archives.

Figure 24. Drew Gardner’s Flarf: An Anthology of Flarf (2017).

Figure 25. 327 poets from UbuWeb are highlighted.

Figure 26. UbuWeb bridges the gap between international Fluxus movement and the postmodern network.