This chapter considers Ezra Pound’s The Cantos, William Carlos Williams’ Paterson, and Charles Olson’s The Maximus Poems in light of the various difficulties they pose to readers interested in thinking of them in formal and also in generic terms (however broadly construed). I suggest that each of them might be understood as individual attempts to resist intellectual, critical, and hermeneutic recourse to any such generalization per se. A salient feature of these “modernist” “American” “long poems” consists in a variable but tenacious schedule of negations: of literary conventions, of readerly expectations, of internal consistencies, and, ultimately, of any sense of an ending whatsoever. I reflect upon the implications of negation and excess when discussing “long poems” by three straight, white male poets, especially in a context as institutional as a Cambridge History.