Bernstein 93, in footnote: official verse culture "is most clearly revealed in the publishing and reviewing practices of the New York Times, New York Review of Books, New Yorker, American Poetry Review, and a number of old-time literary quarterlies, by the Pulitzer Prize, the National Book Awards, and the Guggenheim and MacArthur Fellowships [etc.]. While the type of work supported by these institutions is diverse, and subject to a variety of pressures that encourage such diversity, the bulk of this verse tends to be blandly apolitical or accomodationist, neoromantic, and (often militantly) middle-of-the-road or, as it is now called, 'suburban.'"
What is excluded: "almost all of the formally active poetry developing out of New American Poetry contexts, the many divergent small-press tendencies, and the poetry of gays, blacks, and hispanics, as well as the variety of 'ethnic' poetries that reject standard English as their dialect" (also 93)
Bernstein, earlier: "[O]fficial verse culture / of the last 25 years has engaged in militant / (that is to say ungenerously uniformitarian) / campaigs to 'restrict the subversive, / independent-of-things nature of the language' / in the name of the common voice, clarity, sincerity / or directness of the poem"
"equating [...] the 'irrational' / & the 'artificial'"
"restrict the subversive, / independent-of-things nature of the language" is from Donald Wesling's The Chances of Rhyme: Device and Modernity (Wesling also is the one who initially conflates 'irrational' with 'artificial,' which Bernstein sees as a "highly problematic equating"