He calls it the 'Elliptical,' and would include in it symbolist and metaphysical poetry (old and new) and some work by poets such as Collins, Blake, and Browning.
He observes—without any pejorative implication, for he is a critical relativist and scarcely permits himself the luxury of evaluative judgments—that the contemporary product differs from older examples of the elliptical type in that 'the modern poet goes much farther in employing private experiences or ideas than would formerly have been thought legitimate.'
To the common reader, he says, "the prime characteristic of this kind of poetry is not the nature of its imagery but its obscurity: its urgent suggestion that you add something to the poem without telling you what that something is."
But I do think it is a stab at authentication of poets who don’t belong to a team and whose work is reluctant to be either excluded or subsumed by one or the other, yet has sympathetic concerns to certain strains and not to others.
"[5] In a 2009 essay, also in Boston Review, Burt proposed that a poetic movement she called "The New Thing" has succeeded ellipticism.