This essay considers a reconfiguring of the sublime in British poetry of the 1970s and 1980s that coincides with theoretical activity around the ways in which the concept of the sublime is renewed and diversified. While Fredric Jameson calls for ‘cognitive mapping’ in cultural practice, to induce in the reader a sense of her or his place in what is nothing less than a global system, Jean-François Lyotard supplies a counter-argument to Jameson’s emphasis on the cognitive, proposing an aesthetic experience in which the activity of the imagination necessarily exceeds that of the understanding, so that the ‘mapping’ which occurs extends the territory of the mind beyond that of individual cognition. Tom Raworth’s poem ‘West Wind’ takes as its reference points those two pejorative instances of the sublime proposed by postmodernist theory—global communications networks and the threat of the nuclear bomb—but links these to a mentality capable only of producing a concept of the imagination while remaining incapable of activating and exercising the imagination. Andrew Crozier’s ‘The Veil Poem’ focuses on architectural terminology, and on the conditions of ‘dwelling’ that articulate its spatial and temporal dimensions, moving towards an exploration of the altered sublime that is carried further in J. H. Prynne’s ‘The Oval Window’.