Charles Olson had many correspondents over the years, but Frances Boldereff, a book designer and typographer, Joyce scholar, and single working mother, embodied a dynamic complexity of interlocutor, muse, Sybil, lover, critic, and amanuensis.
After Completion: The Later Letters of Charles Olson and Frances Boldereff follows on from an earlier edition, Charles Olson and Frances Boldereff: A Modern Correspondence, that spans three years and more than three hundred letters. Published in 1999 by Wesleyan University Press, that edition concludes with a crisis that amounted to a “completion” of one of the major phases of their relationship. After September 1950, no longer would Boldereff believe so wholeheartedly in Olson’s work – or in his promises to spend time with her.
After Completion picks up the correspondence post-crisis, and consists of letters written between 1950 and 1969 – approximately 140 letters over a nineteen-year span. In this period of the correspondence, we witness the intensity of the letters flare intermittently, sometimes explosively, as Olson and Boldereff try to maintain some continuity in their separateness. In these later letters, we also experience their magnificent mutual embracing of Arthur Rimbaud.
The correspondence taken as a whole presents a passionate relationship realized mostly in letters – letters that were to become essential to Olson’s working out of his poetics. Boldereff’s interventions, which provoked Olson to articulate a projectivist poetics, claims for Frances Boldereff an incalculable effect on twentieth-century poetry.
Charles Olson (1910–1970) was a giant of a man in physical stature, critical and intellectual range, and imaginative power. His masterwork, The Maximus Poems, stands beside Ezra Pound’s The Cantos as one of the two great American long poems of the twentieth century – indeed, it can be seen as a democratic and relativist response to Pound’s absolutist manifesto. Olson’s boundless energy, penetrating curiosity, and limitless dedication to his craft made him and his work the syncretic centre of the evolving discourse of mid-twentieth century poetics in English.
Olson’s first two books, Call Me Ishmael (1947), a study of Melville’s Moby-Dick, and The Mayan Letters (1953), written to poet Robert Creeley from Mexico, cover a range of subjects – mythology, anthropology, language, and cultural history – and use the fervent informal style that were to distinguish all his discursive prose. Olson’s manifesto, Projective Verse, published in 1950, was quoted extensively in William Carlos Williams’s Autobiography (1951). Olson was a visiting lecturer and then rector at Black Mountain College in its last years, 1951–1956, and taught at the State University of New York, Buffalo, 1963–1965. Settling in Gloucester, Massachusetts, he devoted most of his time and energy until his death in 1970 to The Maximus Poems (1953–1975).
Educated at the University of Michigan, Frances Boldereff (1905–2003) was a James Joyce scholar, typographer and book designer, and single mother who raised her daughter in Brooklyn, New York, while working in the male-dominated publishing industry of the 1940s and 1950s. As a production manager, designer, and marketing administrator, Boldereff worked at The New Yorker, American Weekly, D. Van Nostrand Company, and Doubleday. In 1947, Boldereff introduced herself to modern American poet Charles Olson when she wrote to him in praise of Call Me Ishmael, his study of Moby-Dick. Thus began a passionate romantic and intellectual relationship that spanned more than twenty years and which played out in extensive correspondence comprising hundreds of letters (now archived at the University of Connecticut). After Completion: The Later Letters of Charles Olson and Frances Boldereff follows on from an earlier edition, Charles Olson and Frances Boldereff: A Modern Correspondence, that spans three years and more than three hundred letters.
As a scholar and exegete outside of the academy, Boldereff wrote about sources in James Joyce and published, under her own privately funded imprint, books such as Reading Finnegans Wake (1959), A Blakean Translation of Joyce’s Circe (1965), and Hermes to His Son Thoth (1968). Her research also focused on Arthur Rimbaud, whose work she not only studied but also translated – most notably his poem “Credo in Unam” (later titled “Sun and Flesh”).
Poet, editor and teacher Sharon Thesen (born Tisdale, SK) has spent almost all her life in British Columbia. After studies at Simon Fraser University, she began teaching in 1975 at the then-Capilano College in North Vancouver, where for many years she edited The Capilano Review. Artemis Hates Romance, her first book of poetry in 1980, was followed by thirteen more, three of them finalists for the Governor General's Award: Confabulations, 1984; The Beginning of the Long Dash, 1987; and The Good Bacteria, 2006. She edited The Vision Tree, a selected poems by Phyllis Webb (Governor General’s Award, 1982), two editions of the The New Long Poem Anthology (1991 and 2001), and, with Ralph Maud, two volumes of correspondence between American poet Charles Olson and book-designer and Joyce scholar Frances Boldereff (1999 and 2012). At UBC Okanagan, where she taught from 2003 to 2012, Thesen and poet Nancy Holmes co-edited Lake: A Journal of Arts and Environment. The Receiver (2017) is her most recent collection, and in 2021, The Wig-Maker was published, a book-length poem created in concert with Janet Gallant from Gallant’s memoirs. Since 2020, the annual “Sharon Thesen Lecture” at UBC Okanagan honours Thesen’s contribution to poetry and poetics. Her archives are held at the McGill University Library in Montreal and at Simon Fraser University’s Special Collections in Burnaby, BC.
