(Oppenin Dembo, "The Objectivist Poet" 161)." onstruction, not description, would be the basic source of models of relatedness, andthese would find their roots in...collagist techniques....
The basic principle of collage construction in poetry was once described by Ron Loewinsohn as "the layering of frames of reference." This layering can consist of elaborate cultural units, as in the , in theorganization of discursive thought units characteristic of Olson, or in thedelicate alignment of perceptual and syntactic units we have observed inobjectivist nature poetry.
Despite such status, however, the formal, intellectual, ideological, and ethical concerns of the Objectivist nexus have increasingly influenced poetry and poetics in the United States.
Thus, argue editors Rachel Blau DuPlessis and Peter Quartermain, the time has come for an anthology that unites essential works on Objectivist practices and presents Objectivist writing as an enlargement of the possibilities of poetry rather than as a determinable and definable literary movement.
Whileacknowledging the important perceptual and philosophical energies of Romanticism,Altieri argues that the Romantic need for transcendence leaves the mindvulnerable to "a return of self-consciousness insisting on the merely conceptualand fictive grounds for its orders and driving the self back into a despondent and passive relation to the natural energies its interpretations displace."  These "modes of relatedness", Altieri continues, which drafted theSublime into a metaphysical struggle with Enlightenment rationalism, "mayno longer be accessible, or desirable, for our culture." (28-29)
In the essay's second section, Altieri presents the polar weaknesses of Romantic-Symbolist and Objectivist poetics.
The essays insist on poetry as a mode of thought; analyze and evaluate Objectivist politics; focus on the ethical, spiritual, and religious issues raised by certain Objectivist affiliations with Judaism; and explore the dissemination of poetic texts and the vagaries of Objectivist reception.
The former stress various ways the mind's powersto interpret concrete events or to use the event to inquire into the natureor grounds of interpretive energies, while ojectivist strategies aim to "compose" a distinct perceptual field which brings "the rays from an object to a focus." Where objectivist poets seek an artifact presenting the modality of things seen or felt as immediate structure of relations, symbolist poets typically strive to see beyond the seeing by rendering in their work a process ofmeditating upon what the immediate relations in perception reflect.