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April 2005 Updrafts
Chaparral from the California Federation of Chaparral Poets, Inc. serving Californiaupdr poets for over 60 yearsaftsVolume 66, No. 3 • April, 2005 President Ted Kooser is Pulitzer Prize Winner James Shuman, PSJ 2005 has been a busy year for Poet Laureate Ted Kooser. On April 7, the Pulitzer commit- First Vice President tee announced that his Delights & Shadows had won the Pulitzer Prize for poetry. And, Jeremy Shuman, PSJ later in the week, he accepted appointment to serve a second term as Poet Laureate. Second Vice President While many previous Poets Laureate have also Katharine Wilson, RF Winners of the Pulitzer Prize receive a $10,000 award. Third Vice President been winners of the Pulitzer, not since 1947 has the Pegasus Buchanan, Tw prize been won by the sitting laureate. In that year, A professor of English at the University of Ne- braska-Lincoln, Kooser’s award-winning book, De- Fourth Vice President Robert Lowell won— and at the time the position Eric Donald, Or was known as the Consultant in Poetry to the Li- lights & Shadows, was published by Copper Canyon Press in 2004. Treasurer brary of Congress. It was not until 1986 that the po- Ursula Gibson, Tw sition became known as the Poet Laureate Consult- “I’m thrilled by this,” Kooser said shortly after Recording Secretary ant in Poetry to the Library of Congress. the announcement. “ It’s something every poet dreams Lee Collins, Tw The 89th annual prizes in Journalism, Letters, of. There are so many gifted poets in this country, Corresponding Secretary Drama and Music were announced by Columbia Uni- and so many marvelous collections published each Dorothy Marshall, Tw versity. -
The Poetry of Wilmer Mills
University of South Carolina Scholar Commons Theses and Dissertations 2016 The oP etry Of Wilmer Mills Rachael Acheson University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Acheson, R.(2016). The Poetry Of Wilmer Mills. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/3876 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE POETRY OF WILMER MILLS by Rachael Acheson Bachelor of Arts Hillsdale College, 2012 Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Arts in English College of Arts and Sciences University of South Carolina 2016 Accepted by: Patrick Scott, Director of Thesis Anthony Jarrells, Reader Paul Allen Miller, Vice Provost and Interim Dean of Graduate Studies © Copyright by Rachael Acheson, 2016 All Rights Reserved. ii DEDICATION I would like to dedicate this project to my mother, Kathy Sue Acheson, who never had the opportunity to attend college, but who devoted over fifteen years of her life to my education in the hope that I would. She was diagnosed with stage VI cancer the same year Mr. Mills died from it, but she continues to this day to prove a well of fathomless inspiration, support, and love. This paper, and the degree it seeks to culminate, would not exist without her. iii ACKNOWLEDGEMENTS I would like to thank John N. -
AIKEN, CONRAD, 1889-1973. Conrad Aiken Collection, 1951-1962
AIKEN, CONRAD, 1889-1973. Conrad Aiken collection, 1951-1962 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Aiken, Conrad, 1889-1973. Title: Conrad Aiken collection, 1951-1962 Call Number: Manuscript Collection No. 126 Extent: .25 linear ft. (1 box) Abstract: Collection of materials relating to American poet and critic, Conrad Aiken including correspondence and printed material. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in Other Repositories Henry E. Huntington Library (San Marino, CA) and Houghton Library, Harvard University. Source Purchased from George Minkoff Booksellers in 1977. Additions were purchased from Charles Apfelbaum Rare Manuscripts and Archives in 2006. Custodial History Purchased from dealer, provenance unknown. Citation [after identification of item(s)], Conrad Aiken collection, Manuscript, Archives and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Conrad Aiken collection, 1951-1962 Manuscript Collection No. 126 Appraisal Note Acquired by Director of the Rose Library, Linda Matthews, as part of the Rose Library's holdings in American literature. Processing Processed by Linda Matthews, December 15, 1977. This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other oppressive language. -
Poetry for the People
06-0001 ETF_33_43 12/14/05 4:07 PM Page 33 U.S. Poet Laureates P OETRY 1937–1941 JOSEPH AUSLANDER FOR THE (1897–1965) 1943–1944 ALLEN TATE (1899–1979) P EOPLE 1944–1945 ROBERT PENN WARREN (1905–1989) 1945–1946 LOUISE BOGAN (1897–1970) 1946–1947 KARL SHAPIRO BY (1913–2000) K ITTY J OHNSON 1947–1948 ROBERT LOWELL (1917–1977) HE WRITING AND READING OF POETRY 1948–1949 “ LEONIE ADAMS is the sharing of wonderful discoveries,” according to Ted Kooser, U.S. (1899–1988) TPoet Laureate and winner of the 2005 Pulitzer Prize for Poetry. 1949–1950 Poetry can open our eyes to new ways of looking at experiences, emo- ELIZABETH BISHOP tions, people, everyday objects, and more. It takes us on voyages with poetic (1911–1979) devices such as imagery, metaphor, rhythm, and rhyme. The poet shares ideas 1950–1952 CONRAD AIKEN with readers and listeners; readers and listeners share ideas with each other. And (1889–1973) anyone can be part of this exchange. Although poetry is, perhaps wrongly, often 1952 seen as an exclusive domain of a cultured minority, many writers and readers of WILLIAM CARLOS WILLIAMS (1883–1963) poetry oppose this stereotype. There will likely always be debates about how 1956–1958 transparent, how easy to understand, poetry should be, and much poetry, by its RANDALL JARRELL very nature, will always be esoteric. But that’s no reason to keep it out of reach. (1914–1965) Today’s most honored poets embrace the idea that poetry should be accessible 1958–1959 ROBERT FROST to everyone. -
MSS 30 Aiken, Conrad Potter I. Manuscript Material 1. [Holograph
MSS Aiken, Conrad Potter 30 I. Manuscript Material 1. [holograph letter, signed] Burton A. Robie, Grafton, Mass. to Conrad Aiken. 22nd July 1970. 2. [typed postcard, signed] Conrad Aiken to Burton A. Robie, 3rd August 1970. Information on publishing history of Selected Poems of Emily Dickinson, Senlin, and Charnel Rose. 3. [typed postcard, signed] Conrad Aiken to Burton A. Robie. 29th August 1971. Acknowledges his birthday greetings. 4.1. [typed letter, signed] Conrad Aiken to John Beaumont, Bromley, Kent, England. 15th April 1971. Declining request for contribution to Apex 1. 4.2. Two addressed envelopes in which 4.1 [typed letter, signed] was mailed and received. 5. "A is for Alpha-Alphais for A." [typescript, signed in ink] Conrad Aiken. 4pp. 6. "At a Concert of Music." [typescript, signed in ink] Conrad Aiken 1960. 1p. 7. "Moritura". [typescript, signed in ink] Conrad Aiken, 1p. 8.1. A clear, Brave, Civilizing Force [:] Hubert Humphrey, n.p.: Committee of Arts and Letters for Humphrey, 1968. Campaign endorsement, [handbill; broadside; single-sheet octavo size] [copy 1]. 8.2. A Clear Brave, Civilizing Force, as above 8.1 [copy 2] 9. A.D. 1930 [cover title] n.p., 1930. [Christmas card, inscription in ink] Very best wishes for Christmas and the New Year from Conrad Aiken. [Card in envelope addressed in ink] Gordon Cairnie Esq., 6 Plympton Street, Cambridge, Mass., U. S. A. II. Researcher Material 1. Whitaker, Thomas R. “Repeating is What I am Loving.” Parnassus; Poetry in Review. Vol. 1.1: 59-68. Photocopy of original article reviewing and analyzing Aiken’s Ushant (1952). -
Publications of J.T. Barbarese
Publications of J.T. Barbarese Books, Other than Textbooks, Including Scholarly Monographs The Black Beach, poems (Denton, TX: University of North Texas Press, 2005). A Very Small World, poems (Alexandria, VA: Orchises Press, 2005). The Children of Heracles, in "Euripides, 4," volume four of the complete works of Euripides in literary translation in the Penn Greek Drama Series (Philadelphia, PA: University of Pennsylvania Press, 1999). New Science, poems (Athens, GA: University of Georgia Press, 1989). Under the Blue Moon, poems (Athens, GA: University of Georgia Press, 1985). Chapters in Books or Monographs “A Bert And Ernie Stylistics: Introducing Hemingway Through A Discussion Of Hemingway’s Style,” in Teaching Hemingway’s A Farewell to Arms, edited by Lisa Tyler, Kent State University Press, 2008. "Introduction," The Wonderful Wizard of Oz (NY: Barnes and Noble Classics), July 2005. "Afterword," Little Men, Signet/New American Library (NY: Penguin-Putnam, 2004), 331-341. "John Finlay’s Hermetic Light and the Seductions of Truth," in In Light Apart: The Achievement of John Finlay, ed. David Middleton (Glenside, PA: The Aldine Press, 1999), 53-62. "Hart Crane's Difficult Passage," in The Columbia History of American Poetry, edited by Jay Parini and Brett Millier (NY: Columbia University Press, 1993). "Ezra Pound's Imagist Aesthetics: Lustra to ‘Mauberley,’" in The Columbia History of American Poetry (NY: Columbia University Press, 1993). Reprinted in part the Modern American Poetry Website, http:www.english.uiuc.edu/maps. Articles in Refereed Journals “Charlotte's "Text": A Note on the Etymology of Web,” in The Looking Glass, 9.1 (January 2, 2005), http://www.the-looking-glass.net/v9i1/illuminating.html. -
A Study of Modern Poetry
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 1968 A Study of Modern Poetry Kriste McElhanon Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Literature Commons, and the Poetry Commons Recommended Citation McElhanon, Kriste, "A Study of Modern Poetry" (1968). Honors Theses. 694. https://scholarlycommons.obu.edu/honors_theses/694 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. fl{'o r. v /vi c /~ A STUDY OF MODEHN i?OETRY A Paper l") resen t ed to Dr. W. A. Powell Ouachita :Bapti s t University I n Pa r tia l Fulfillment of the He quirements f or the Honor s Special 0 tudy Course by Kris te McElhanon Iv1 ay 1968 RICHARD WILBUR Born in New York in 1921, Richard Wilbur has become one of· the leading contemporary poets. The former Harvard English professor has a long list of varied accomplishments to his credit. He has written five books of poetry, and he translated many poems including Moliere's "Le Misanthrope." He was the principal lyricis·!; for the Lillian Hellman, Leonard Bernstein production of Voltaire's Candide on Broadway. He selected and compiled~ BestiaEl, a collection of poems about animals with drawings. Mr. Wilbur's talent as a translator lies not in strict line by line comparison of the English with the original text but in his faithfulness to "achieve the right tone." This ability is evident in his translation of Francis Jammes 1 "A Prayer to Go to Paradise with the Donkeys" included in Things £! ~ World. -
The Poets 77 the Artists 84 Foreword
Poetry . in Crystal Interpretations in crystal of thirty-one new poems by contemporary American poets POETRY IN CRYSTAL BY STEUBEN GLASS FIRST EDITION ©Steuben Glass, A Division of Corning Glass Works, 1963 Library of Congress Catalogue Card Number 63-12592 Printed by The Spiral Press, New York, with plates by The Meriden Gravure Company. Contents FOREWORD by Cecil Hemley 7 THE NATURE OF THE C OLLECTIO N by John Monteith Gates 9 Harvest Morning CONRAD A IK EN 12 This Season SARA VAN ALSTYNE ALLEN 14 The Maker W. 1-1 . AU DEN 16 The Dragon Fly LO U I SE BOGAN 18 A Maze WITTER BYNNER 20 To Build a Fire MELV ILL E CANE 22 Strong as Death GUSTAV DAVID SON 24· Horn of Flowers T H 0 M A S H 0 R N S B Y F E R R I L 26 Threnos JEAN GARR I GUE 28 Off Capri HORACE GREGORY so Stories DO NA LD H ALL S2 Orpheus CEC IL HEMLEY S4 Voyage to the Island ROB ERT HILLYER 36 The Certainty JOH N HOLMES S8 Birds and Fishes R OB I NSON JEFFER S 40 The Breathing DENISE LEVERTOV 42 To a Giraffe MARIANNE MOORE 44 The Aim LOUISE TOWNSEND NICHOLL 46 Pacific Beach KENNETH REXROTH 48 The Victorians THEODORE ROETHKE 50 Aria DELMORE SCHWARTZ 52 Tornado Warning KARL SHAPIRO 54 Partial Eclipse W. D. SNODGRASS 56 Who Hath Seen the Wind? A. M. SULLIVAN 58 Trip HOLLIS SUMMERS 60 Models of the Universe MAY SWENSON 62 Standstill JOSEPH TUSIANI 64 April Burial MARK VAN DOREN 66 Telos JOHN HALL WHEELOCK 68 Leaving RICHARD WILBUR 70 Bird Song WILL I AM CARL 0 S WILL I AMS 72 BIOGRAPHICAL SKETCHES The Poets 77 The Artists 84 Foreword CECIL HEMLEY President, 'The Poetry Society of America, 19 61-19 6 2 Rojects such as Poetry in Crystal have great significance; not only do they promote collaboration between the arts, but they help to restore the artist to the culture to which he belongs. -
Conrad Aiken and His Ambiguous Musicality of Poetry
Comparatismi 1I 2017 ISSN 2531-7547 http://dx.doi.org/10.14672/20171302 Words and Music Boundaries: Conrad Aiken and his Ambiguous Musicality of Poetry Marcin Stawiarski Abstract • The American Modernist poet Conrad Aiken attempted not only a the- matic rapprochement with music, but also what is usually described as ‘musicalization of fiction,’ that is to say a more formal type of intermediality. By this token, Aiken occupies a specific place in literary history as an author of formal musical borrowings. Yet, paradoxically, Aiken’s use of music remains rather conventional, or traditionalist, so that it only reinforces his marginality within the Modernist world. While Harold Bloom describes Aiken’s poetry as attached to the “tradition of High romanticism”, I would willingly describe his use of music as an orthodox musical mythography, whereby the crossing of the boundaries between the arts becomes a mere poetic tool, and quite a hackneyed intersemiotic translation. In other words, far from consti- tuting a novelty, intermediality and intersemiotic translatation are signs of an attach- ment to traditionalist values. Aiken’s musical singularity also appears in his novels which seem to have been initially conceived of as purely profitable projects, aiming to improve the poet’s income. However, to an extent, Aiken’s novels reflect his po- etry, building on his intersemiotic poetic statements. Indeed, what comes to the fore, in both Aiken’s poetry and his novels, is an almost obsessive questioning of conscious- ness. And, it is music that plays a heuristic function accompanying images of con- sciousness. In order to demonstrate Aiken’s attachment to musical borrowings and his paradoxically traditionalist approach to intersemioticity, I will first focus on his po- etic manifestos. -
HECHT, ANTHONY, 1923-2004. Anthony Hecht Papers, 1894-2005
HECHT, ANTHONY, 1923-2004. Anthony Hecht papers, 1894-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Collection Stored Off-Site All or portions of this collection are housed off-site. Materials can still be requested but researchers should expect a delay of up to two business days for retrieval. Descriptive Summary Creator: Hecht, Anthony, 1923-2004. Title: Anthony Hecht papers, 1894-2005 Call Number: Manuscript Collection No. 926 Extent: 96.5 linear feet (187 boxes), 3 oversized papers boxes and 3 oversized papers folders (OP), 7 bound volumes (BV), 4 oversized bound volumes (OBV), 1 extra oversized paper (XOP) and AV Masters: 1 linear foot (2 boxes) Abstract: Papers of American poet Anthony Hecht, including correspondence, manuscripts and typescripts of writings, personal files, academic files, printed material, subject files, a small group of audiovisual materials, photographs, scrapbooks, and artwork. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Subseries 1.1, Family Correspondence and Subseries 1.2, General Correspondence, contains some correspondence that is closed to researchers. Some personal files in the Series 4 are also closed to researchers. Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Collection stored off-site. Researchers must contact the Rose Library in advance to access this collection. -
CONGRESSIONAL RECORD—HOUSE May 6, 1997
H2244 CONGRESSIONAL RECORD Ð HOUSE May 6, 1997 of the House, the following Members Pinsky's poems so that we might wel- I wanted the way to pronounce will be recognized for 5 minutes each. come him to Washington with a deeper Evenly the judgment which a man f appreciation of his outstanding poetry. Who was quiet holds back as distinct First of all, these are from the Fig- But not final in the presence The SPEAKER pro tempore. Under a Of a good talker. I a good talker previous order of the House, the gen- ured Wheel which I mentioned. The Ask you a quiet man to recall the inside tleman from Georgia [Mr. COLLINS] is first one, if I could read it briefly, Mr. Of a shop, glassdust and lenses recognized for 5 minutes. Speaker, is about my home town of Everywhere, broken eyeglasses, forms Long Branch, which is also Mr. [Mr. COLLINS addressed the House. And odd pieces of paper, voices Pinsky's home town, and he talks Like phones ringing, tools His remarks will appear hereafter in about the ocean, which we are all so Broken and whole everywhere, mail the Extensions of Remarks.] very fond of since Long Branch is along Unread, the signÐ``Milford S.'' or f the shore. It is called ``A Long Branch ``Robert''Ðhanging like a straight face . .. Surface, tyranny of the world visible, AMERICA'S 39TH POET LAUREATE, Song.'' Images that spread outward ROBERT PINSKY Some days in May, little stars. From the brain like lines crazingÐ The SPEAKER pro tempore. -
Classic Ransom Ryan Wilson
Classic Ransom Ryan Wilson The Hopkins Review, Volume 9, Number 1, Winter 2016 (New Series), pp. 6-27 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/thr.2016.0016 For additional information about this article https://muse.jhu.edu/article/609736 Accessed 13 Apr 2017 23:42 GMT Ryan Wilson CLASSIC RANSOM n a 1948 issue of The Sewanee Review celebrating John Crowe Ransom’s sixtieth birthday, Randall Jarrell remarked: “it is easy to see that his poetry will always be cared for; since he has written Ipoems that are perfectly realized and occasionally almost perfect— poems that the hypothetical generations of the future will be reading page by page with Wyatt, Campion, Marvell, and Mother Goose.” No doubt, Mr. Jarrell’s estimation of Ransom’s work proves just, but his prognostication has proven dubious. In 1991, Brad Leithauser lament- ed that “for some time now Ransom has been on the wane,” and more recently Dave Smith has noted, regarding the poems’ lack of availabil- ity, that “there is now cause to assert that their appeal, even perhaps their existence, is a matter of some doubt.” Worse still, even among those who “purport to admire them,” as Anthony Hecht complained in 1994, the poems “are still read with a shocking carelessness.” With the Un-Gyve Press recently publishing The Collected Poems of John Crowe Ransom, a volume that not only restores Ransom’s poems to print after nearly a quarter-century but also brings all Ransom’s poems together for the very first time, the matter of the poems’ existence has been resolved, but the matter of their appeal has not, and this is our concern.