|Lorine Niedecker: Image via the Poetry Foundation|
Listening to a recent talk on ecology and contemporary poetry given by Professor Margaret Ronda, I was struck by how closely the aesthetic and political concerns of Objectivist poet Lorine Niedecker mirror those of William Morris, who was writing 75-100 years earlier. Niedecker’s work evinces a discomfort with the new, with aesthetic and literary emphases on innovation, and connects such neophilia with an unsustainable capitalist ideology of disposability and overproduction. This same anxiety about the connection between capitalist production and an aesthetic preference for innovation is apparent in Morris’s work, as I mentioned to Ronda after her talk. Imagine my surprise when Ronda told me that Niedecker was deeply interested in Morris and had in fact written a poem about him, titled “His Carpets Flowered.”
The poem, reprinted below, was written in the late ‘60s, and it suggests that Niedecker was primarily inspired not by Morris’s poetry, nor by his work in arts and crafts, but by his letters, and more specifically, by Morris the man as expressed in his letters. As Niedecker wrote in a 1969 letter to fellow poet Cid Corman: “I'm absorbed in writing poems--sequence--on William Morris. I know how to evaluate--Ruskin, etc., their kind of socialism--paternalism--but the letters of William Morris have thrown me. Title will be His Carpets Flowered. I can't read his poems. I'd probably weary of all those flowery designs in carpets, wall papers, chintzes...but as a man, as a poet speaking to his daughters and wife--o lovely” (455).