traces a tradition of revolutionary self-mythologising in the lives and works of Frank O’Hara, Ted Berrigan and John Forbes, as a significant trefoil in twentieth-century English language poetry. All three had untimely deaths, excited a collective homage, and developed cult followings that reverberate today. This book tracks the transmission of the poem as charm, the poet as charmer, and the reinstitution of troubadour erotics as a kind of social poetics. Starting with Orpheus, the book refreshes the myth of the poet as mythmaker, examining how myths of “self” and “nation” are regenerated for the twenty-first century and how persons-as-myths are made in community through coteries of artists and beyond. Duncan Bruce Hose’s critical vocabulary, with its nucleus of mythos, searches the edges of phenomenal enquiry, closing in on the work of “glamour”, “aura”, “charm”, “possession”, “phantasm”, the “daemonic”, and the logic of haunting in the continuing being of these three poets as “charismatic animals”.