Apart from their strong interconnections with the Beats, the Black Mountain poets influenced the course of later American poetry via their importance for the poets later identified with the Language School. In Canada, the Vancouver-based TISH group, including George Bowering and Daphne Marlatt, were heavily influenced by the Black Mountain poets.
They were also important for the development of innovative British poetry since the 1960s, as evidenced by such poets as Tom Raworth and J.
One of the effects of narrowing the unit of structure in the poem down to what could fit within an utterance was that the Black Mountain poets developed a distinctive style of poetic diction (e.g. In addition to Olson, the poets most closely associated with Black Mountain include Larry Eigner, Robert Duncan, Ed Dorn, Paul Blackburn, Hilda Morley, John Wieners, Joel Oppenheimer, Denise Levertov, Jonathan Williams and Robert Creeley.
Creeley worked as a teacher and editor of the Black Mountain Review for two years, moving to San Francisco in 1957.
Such anti-Romantic poets often described their mental anguish in traditional rhyme and meter and lamented a world completely cut off from anything but a subjective reality.
Olson proposed that the spirit of Romanticism reassert itself in what he called “objectism” (a term he created) as a more radical alternative to William Carlos Williams and Ezra Pound’s “objectivism”: Objectism is the getting rid of the lyrical interference of the individual as ego, of the “subject” and his soul, that peculiar presumption by which western man has interposed himself between what he is as a creature of nature (with certain instructions to carry out) and those other creatures of nature which we may, with no derogation, call objects. Olson further exhorts people to recognize themselves as objects among the other objects in nature and to do so with an attitude of humility.
Human attempts to control the powers of nature and the resulting chaos that such self-destructive behavior produces became one of Olson’s principal themes throughout his poetry and prose.
Olson perpetually used various versions of the mythic motif of the Fall, disengaging it from any specifically Christian contexts.
His essays and poetry also consistently teach his readers the most important lesson: learning how to learn on their own.
His advice to the young poet Edward Dorn at Black Mountain College in 1955 is a case in point. And then U KNOW everything else very fast: one saturation job (it might take 14 years).