Abstract

This article argues for a neural basis behind Edgar Allen Poe’s ‘Poetic Principle’ and Charles Olson’s ‘Projective Verse’ to create a more robust cross-disciplinary aesthetic model. Brian Boyd and Ellen Dissanayake show that ‘attention’ and ‘making new’ in poetry is a stable but evolving technique. This shows up in constant variation in ‘classic’ and ‘modern’ poetry and it forms a pattern for interpretation. This article will look at Poe’s and Olson’s essays in relation to this technique, steering their conclusions toward a partially naturalized conception of poetics in conjunction with more standard literary models in order to broaden aesthetic understanding.