1. See Muriel Rukeyser, “Foreword” to Octavio Paz, Early Poems, 1935–1955 (New York: New Directions, 1973). On the links between Black Mountain, San Francisco, and Beat poets, see Belgrad 199–204.
2. For a discussion of the theory of hegemony and counterhegemony, see T. J. Jackson Lears, “The Concept of Cultural Hegemony,” American Historical Review 90.3 (June 1985): 568–72.
3. This poem exhibits significant parallels to Charles Olson’s “The Kingfishers” of 1949, both in its archeological project and in its use of the dialogical voice. Both poems were undoubtedly influenced by Pablo Neruda’s “The Heights of Machu Picchu” (1945). On “The Kingfishers” see Belgrad 71–78.