I guess it was Pound who popularized the idea that critical judgment is intrinisically tied up with the ability to produce works of art oneself. Of course, we all know it doesn't work that way! We don't worry too much whether Marjorie Perloff can write a poem, or whether Clement Greenberg knew how to paint. If the critic defines herself as a poet, though, and publishes poetry, then the Poundian criterion kicks in. We are entitled to look at where the critic is coming from, poetically speaking. I assume that poets, as critics, are implicitly defending their own poetics.

I should add that Houlihan's demolition of the Bly BAP is quite convincing, devastating even. Which goes to show that the "blindness/insight" aporia is in full force. She can see how and why a prosaic Donald Hall poem is wanting, but is reduced to Philistine blustering when faced with Lyn Hejinian or Fanny Howe. Go figure.