Vol. 31, No. 1 (Spring 2007)
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Addison Street Poetry Walk
THE ADDISON STREET ANTHOLOGY BERKELEY'S POETRY WALK EDITED BY ROBERT HASS AND JESSICA FISHER HEYDAY BOOKS BERKELEY, CALIFORNIA CONTENTS Acknowledgments xi Introduction I NORTH SIDE of ADDISON STREET, from SHATTUCK to MILVIA Untitled, Ohlone song 18 Untitled, Yana song 20 Untitied, anonymous Chinese immigrant 22 Copa de oro (The California Poppy), Ina Coolbrith 24 Triolet, Jack London 26 The Black Vulture, George Sterling 28 Carmel Point, Robinson Jeffers 30 Lovers, Witter Bynner 32 Drinking Alone with the Moon, Li Po, translated by Witter Bynner and Kiang Kang-hu 34 Time Out, Genevieve Taggard 36 Moment, Hildegarde Flanner 38 Andree Rexroth, Kenneth Rexroth 40 Summer, the Sacramento, Muriel Rukeyser 42 Reason, Josephine Miles 44 There Are Many Pathways to the Garden, Philip Lamantia 46 Winter Ploughing, William Everson 48 The Structure of Rime II, Robert Duncan 50 A Textbook of Poetry, 21, Jack Spicer 52 Cups #5, Robin Blaser 54 Pre-Teen Trot, Helen Adam , 56 A Strange New Cottage in Berkeley, Allen Ginsberg 58 The Plum Blossom Poem, Gary Snyder 60 Song, Michael McClure 62 Parachutes, My Love, Could Carry Us Higher, Barbara Guest 64 from Cold Mountain Poems, Han Shan, translated by Gary Snyder 66 Untitled, Larry Eigner 68 from Notebook, Denise Levertov 70 Untitied, Osip Mandelstam, translated by Robert Tracy 72 Dying In, Peter Dale Scott 74 The Night Piece, Thorn Gunn 76 from The Tempest, William Shakespeare 78 Prologue to Epicoene, Ben Jonson 80 from Our Town, Thornton Wilder 82 Epilogue to The Good Woman of Szechwan, Bertolt Brecht, translated by Eric Bentley 84 from For Colored Girls Who Have Considered Suicide I When the Rainbow Is Enuf, Ntozake Shange 86 from Hydriotaphia, Tony Kushner 88 Spring Harvest of Snow Peas, Maxine Hong Kingston 90 Untitled, Sappho, translated by Jim Powell 92 The Child on the Shore, Ursula K. -
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. -
Wallace Stevens
Classic Poetry Series Wallace Stevens - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive A High-Toned Old Christian Woman Poetry is the supreme fiction, madame. Take the moral law and make a nave of it And from the nave build haunted heaven. Thus, The conscience is converted into palms, Like windy citherns hankering for hymns. We agree in principle. That's clear. But take The opposing law and make a peristyle, And from the peristyle project a masque Beyond the planets. Thus, our bawdiness, Unpurged by epitaph, indulged at last, Is equally converted into palms, Squiggling like saxophones. And palm for palm, Madame, we are where we began. Allow, Therefore, that in the planetary scene Your disaffected flagellants, well-stuffed, Smacking their muzzy bellies in parade, Proud of such novelties of the sublime, Such tink and tank and tunk-a-tunk-tunk, May, merely may, madame, whip from themselves A jovial hullabaloo among the spheres. This will make widows wince. But fictive things Wink as they will. Wink most when widows wince. Wallace Stevens www.PoemHunter.com - The World's Poetry Archive 2 Anecdote of the Jar I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill. The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air. It took dominion everywhere. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee. -
George Oppen Papers
http://oac.cdlib.org/findaid/ark:/13030/tf7f59p2k1 No online items George Oppen Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2005 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html George Oppen Papers MSS 0016 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: George Oppen Papers Identifier/Call Number: MSS 0016 Physical Description: 15 Linear feet(34 archives boxes, 1 flat box, and 1 map case folder) Date (inclusive): 1958-1984 Abstract: Literary papers of George Oppen (1908-1984), objectivist poet and winner of the Pulitzer Prize for Poetry in 1969. Materials range in date from 1958-1984 and include correspondence, manuscripts and typescripts for all the poems contained in Oppen's nine published books, drafts and fragments of unpublished poems, typescripts of published and unpublished essays, and interviews, translations, and reviews of Oppen's work. Scope and Content of Collection Literary papers of George Oppen (1908-1984), objectivist poet and winner of the Pulitzer Prize for Poetry in 1969. Materials range in date from 1958-1984 and include manuscripts and typescripts for all the poems contained in Oppen's nine published books, drafts and fragments of unpublished poems, typescripts of published and unpublished essays, transcripts of Oppen's verse, and copies of reviews of Oppen's work. Of special interest are loose leaf pages of notes, and Oppen's personal daybooks, all of which help to reveal his thinking about diverse subjects. -
Poetry and Poetics Orals List Anne Marie Thompson Fall 2017
Poetry and Poetics Orals List Anne Marie Thompson Fall 2017 POETS Pre-1600: Sir Philip Sidney (1554-1586) John Donne (1572-1631) Between 1600-1800: John Milton (1608-1674) Alexander Pope (1688-1744) Between 1800-1900: William Wordsworth (1770-1850) Walt Whitman (1819-1892) Since 1900: W. B. Yeats (1865-1939) T. S. Eliot (1888-1965) POEMS (30 poems, by poets other than the chosen 8, spanning the major genres) epigram: John Dryden, “Epigram on Milton” (1688) Robert Burns, “Epigram on Rough Woods” (1786) Robert Frost, “Fire and Ice” (1920) sonnet: Thomas Wyatt, “Whoso list to hunt” William Shakespeare, “That time of year thou mayest in me behold” (Sonnet 73) Gerard Manley Hopkins, “God’s Grandeur” (1877) Claude McKay, “America” (1921) epistle: Anne Bradstreet, “To My Dear and Loving Husband” (1650) Lord Byron, “Epistle to Augusta” (1816/1830) Pound, “The River Merchant’s Wife: A Letter” (1915) Elizabeth Bishop, “Letter to N.Y.” (1955) elegy: Thomas Gray, “Elegy Written in a Country Churchyard” (1751) Percy Bysshe Shelley, “Adonais” (1821) Wilfred Owen, “Anthem for Doomed Youth” (1917/1920) 1 W. H. Auden, “In Memory of W. B. Yeats” (1940) ode: Andrew Marvell, “Horatian Ode” (1650) John Keats, “Ode to a Nightingale” (1819) Percy Bysshe Shelley, “Ode to the West Wind” (1820) ballad: Anonymous, “Tam Lin” Samuel Taylor Coleridge, “The Rime of the Ancient Mariner” (1798) Edgar Allan Poe, “Annabel Lee” (1849) Gwendolyn Brooks, “Of De Witt Williams on His Way to Lincoln Cemetery” (1945) dramatic monologue: Robert Browning, “My Last Duchess” (1842) Alfred, Lord Tennyson, “Ulysses” (1842) Sylvia Plath, “Lady Lazarus” (1965) concrete/visual: George Herbert, “The Altar” (1663) William Blake, Songs of Innocence (1789) Mina Loy, “Brancusi’s Golden Bird” (1922) epic: Homer, The Odyssey Derek Walcott, Omeros (1990) PRIMARY TEXTS TO 1945 (pick 15) 1. -
I. the Metler of NOTHINGNESS 2. Samuel French Morse, Quoted By
Notes I. THE METlER OF NOTHINGNESS 1. My title alludes to a phrase in 'Seventy Years Later" (CP 525-6), the whole of which late poem is suggestively relevant to this chapler. Sources of quotations from Stevens's published writings will be given in the running lext, using the abbreviations already described. 2. Samuel French Morse, quoted by Peter Brazeau in his Parts of a World: Wallacr Stevens Rt'IIJembi'rrd (New York: J{andom House, 1983), p. 152. Subsequent references to this book wil! be incorporated in Ihe running h.'xl as (Brazeau, p. -), 3. WI' Dream of Honour: John Berryman '5 Letters to his Mother, ed. I{ichard J. Kelly (New York & London: W.W. Norton, 1988), p. 207;'So Long? Stevens' can be found in the collection His Toy, His Dream, His Rest (London: Faber & Faber, 1969), p. 148. 4. Thomas C. Grey, The Wallace Stevws Case: Law alld the Practice af Paetry (Cambridge, Mass. & London: Harvard University I'ress, 1991), p. 12. 5. Pound's remarks about Stevens date from 1933, and are quoted by Alan Filreis in Modernism from RiXI1t to Left: Wal/ace Stevells, the Tllirties & Literary Radicalism (Cambridge & New York: Cambridge University Press, 1994), p. 147. 6. John Timberman Newcomb, Wallace StePt'lls alld Literary Callons (Jackson & London: University Press of Mi5Sis$ippi, 1992), pp. 3--4. 7. Henry James, HllwtilOrne, ed. Tony Tanner (London: Macmillan, 1967), pp. 55, 56. 8. D.H. Lawrence, Stlldies ill Classic Amrricall Literatllff! (Harmondsworth: Penguin, 1971), p. 70. [n citing Sacvan Bcrcovitch, I am thinki ng principally o f The Rites of Assent: Transformations in the Symbolic COllstruction af America (New York & London: Routledge, 1993). -
George Oppen and Lyn Hejinian
6O I rnr HUMANITIES REVIEW SPR]NG 201I pETER NrcHoLLs NUMERousNEss AND rrs Drscor{TENTS I 6l dates her interest in Oppen back to 1968, and it's clear from this material that she returned to a concentrated study of his work in the early nineties.2 The lecture, Numerousness and Its called originally'O s Affirmation'and subsequently retitled 'The Numerousi remains unpublished, but in 1998 Hejinian produced two other essays, 'Barbarism'and'Rea- Discontents: George Oppen sonl which also take Oppen as a major point of reference for her own meditations on philosophical and phenomenological conceptions of community or'numer- and Lyn Hejinian ousnessi to use Oppen's term.3 His work continues to act as a primary touchstone for Hejinian, as was clear at the 2002 Modernist Studies Association conference in Madison when she gave a paper titled'George Oppen and the Space of Appear- ancei Peter Nicholls , New York Uruversrty ln recent years, Hejinian's fascination with Oppen's work has focussed in- striking feature of Lyn Hejinian's recent work has creasingly on his long serial poem'Of Being Numerous'(she gave a whole course been her development of a series of terms which at the University of lowa based around this text in 1997). This was the title poem permeates both her poetic and critical writings: of the volume which brought Oppen the Pulitzer prize in 1969 and it remains, for words such as'incipiencei 'borderi 'reasoni dilemmai tontexti most readers, his best The Hmeities neview known work.'Of Being Numerousi which builds upon an ear, 'aporial and bccurrence' are deployed to create a termino- Volume g, lssue I lier poem called A Language of New York', has many interrelated concerns: in forty logical matrix in which ideas from theorists such as Hannah Spring 20 I I pp rjo-83 short sections it ranges over life in the contemporary metropolis. -
6 X 10.Long New.P65
Cambridge University Press 978-0-521-19086-2 - Wallace Stevens and the Aesthetics of Abstraction Edward Ragg Index More information Index abstraction Stevens’ embracing of 4, 77, 87, 97, 182, autotelic abstraction 213 184–5 and the bourgeois 5, 97, 107, 148, 162, 165, in Stevens’ later career 2–3, 99, 185, 209 167, 203, 231 Stevens’ modifying of 5, 11, 143, 165, 166, ‘cool’ and ‘warm’ abstraction 2, 5, 20, 24, 172, 174, 229 25, 167, 205, 213, 230 and textual speakers 4, 27, 55, 58, 60, 63, and domesticity 5, 25, 146, 210, 216, 218, 66–76, 77, 86, 87, 90, 95, 97, 98, 109, 220, 221, 223, 225, 229 110, 111, 112, 114, 118, 119, 121, 126, 127, expressions of 4, 25, 28, 210 131, 134, 135, 156, 229, See also idealist ‘I’ and gastronomy. See gastronomy and time 91, 102, 189–98 as generalization 18, 19, 23 and the visual 19, 26–7, 60, 76, 86, 94, 95–7 and the habitual 83, 94, 133, 227 Aestheticism 7 as human task 8, 26, 132, 179, 205, 229 Alcestis Press, The 31, 36, 49, 55, 56, 155 and idealism. See philosophy for ‘idealism’ Altieri, Charles 6, 23, 26–7, 28, 80, 134, 142 and inhumanity 8, 138, 203 Arensberg, Walter 218 and mediation 76, 94, 98, 134, 163, 170, 172, Ariadne 126, 127–9 174, 180, 183, 199 Armory Show, The 209, 212 and mental processes 5 Arnold, Matthew 80, 81 and metaphor 103, 176–8, 185–203 Arp, Jean 213–14 misunderstandings concerning 4, 9, 133 art and art-collecting. -
HISTORIA SCEPTYCYZMU Monografie Fundacji Na Rzecz Nauki Polskiej
HISTORIA SCEPTYCYZMU monografie fundacji na rzecz nauki polskiej rada wydawnicza prof. Tomasz Kizwalter, prof. Janusz Sławiński, prof. Antoni Ziemba, prof. Marek Ziółkowski, prof. Szymon Wróbel fundacja na rzecz nauki polskiej Renata Ziemińska HISTORIA SCEPTYCYZMU W POSZUKIWANIU SPÓJNOŚCI toruń 2013 Wydanie książki subwencjonowane przez Fundację na rzecz Nauki Polskiej w ramach programu Monografie FNP Redaktor tomu Anna Mądry Korekty Ewelina Gajewska Projekt okładki i obwoluty Barbara Kaczmarek Printed in Poland © Copyright by Renata Ziemińska and Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika Toruń 2013 ISBN 978-83-231-2949-3 WYDAWNICTWO NAUKOWE UNIWERSYTETU MIKOŁAJA KOPERNIKA Redakcja: ul. Gagarina 5, 87-100 Toruń tel. +48 56 611 42 95, fax +48 56 611 47 05 e-mail: [email protected] Dystrybucja: ul. Reja 25, 87-100 Toruń tel./fax: +48 56 611 42 38, e-mail: [email protected] www.wydawnictwoumk.pl Wydanie pierwsze Druk i oprawa: Abedik Sp. z o.o. ul. Glinki 84, 85-861 Bydgoszcz Spis treści wstęp ......................................................................................................... 9 część i. pojęcie i rodzaje sceptycyzmu rozdział 1. genealogia terminu „sceptycyzm” ........................... 15 rozdział 2. ewolucja pojęcia sceptycyzmu .................................. 21 Starożytny sceptycyzm jako zawieszenie sądów pretendujących do prawdy .......................................................................................... 21 Średniowieczny sceptycyzm jako uznanie słabości ludzkich sądów wobec Bożej wszechmocy -
'Bordeaux to Yucatan': Stevens's French Connections Tony Sharpe
‘Bordeaux to Yucatan’: Stevens’s French Connections Tony Sharpe Complacencies of the peignoir, and late Coffee and oranges in a sunny chair, And the green freedom of a cockatoo Upon a rug… (CPP 53)1 I suppose that most Stevens aficionados know these lines by heart; and as the beginning of what is probably his most anthologised poem, they are likely also to be familiar to a broader readership. Familiarity may not breed contempt, in this instance, but it might desensitise us to what remains surprising about the opening of ‘Sunday Morning’. Stevens’s catalogue, starting with a pluralised abstract noun, ‘complacencies’, moving to more particularised items in a scene that still has about it a potential for being generalised (we all know, the inference seems to be, what it is to yield to that leisurely coffee, those oranges, that sun-warmed chair), then unexpectedly culminates in a specific that combines abstract with concrete, ‘the green freedom of a cockatoo/ Upon a rug’. This, as Keats said of his Grecian Urn, teases us into thought: is this exotic bird a released parrot or a figure in the carpet, and if the latter, in what sense is it free, and in what sense can its ‘freedom’ be ‘green’? If we think it is an actual cockatoo, then ‘green’ could be a transferred epithet, albeit one which retains some strangeness, by assigning colour to an abstract noun. All these items listed serve, we learn, to counteract ‘The holy hush of ancient sacrifice’: and so the poem goes on to explore the implications of its title. -
Reading Poetry IDSEM UG 1420 Spring 2014, January 28- March 13 Tuesdays and Thursdays, 3:30-4:45 Professor Lisa Goldfarb
Reading Poetry IDSEM UG 1420 Spring 2014, January 28- March 13 Tuesdays and Thursdays, 3:30-4:45 Professor Lisa Goldfarb COURSE DESCRIPTION Poetry is an art that can express our deepest feelings and thoughts about our human experience. Too many of us, however, encounter poetry timidly. We wonder how we can make meaning of poetic words and rhythms so distinct from those we use in our daily lives. In this course, we will work at developing poetic sensibilities, not by digging to find clues to the mysterious meanings of poems, but by gaining an understanding of how to read poetry as a language within a language. We will study how the concentrated language and sounds of poetry help us to grapple with the shades and subtleties of our own experience. We will read many poems ranging from early English lyrics, popular ballads, and Shakespeare’s sonnets, to modern and contemporary poems, as well as poems originally written in other languages. LEARNING GOALS • Students will develop an understanding of the genre of lyric poetry and master a variety of forms particular to the lyric in Anglo-American poetry. • Students will learn a variety of critical strategies for the close reading of poetic texts (linguistic, aesthetic, historical, philosophical). • Students will develop familiarity with poetry from a variety of traditions: European (east and west); African, and Asian poems will be studied alongside the Anglo-American works. • All students will learn to orally present their readings of both poetic and musical texts to the class in informal and formal presentations. • Students will master critical writing and conventions of comparative poetic analysis. -
Of His Native Language: Heaney's Tone and the International Style
Estudios Irlandeses, Number 11, 2016, pp. 190-198 __________________________________________________________________________________________ AEDEI Leaning “well beyond the plumb” of His Native Language: Heaney’s Tone and the International Style Nick Norwood Columbus State University, USA Copyright (c) 2016 by Nick Norwood. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. In the last decades of his life Seamus Heaney enjoyed phenomenal worldwide success, outselling, or so it was widely held, all other poets writing in English combined, a fact attesting to the existence of an international component in his work. A close study of the entire body of his poetry, as well as a study of the concurrent poetic interests he himself professed and which other critics have identified, reveals a subtle and gradual shift toward what may be referred to as the “international style”. The reader encounters such a style, prominently manifest, in the work of some of Heaney’s poetic influences, especially Eastern European poets like Czeslaw Milosz and Zbigniew Herbert. This article argues, however, that Heaney’s stylistic shift was too slight to account for the enormity of his international success and asserts instead that his far-ranging appeal is a matter of tone: Heaney’s attitude toward his material, but more so, deep characteristics of his personality – what Ted Hughes refers to as “the ultimate suffering and decision” in him – occupy space below the surface of his work and imbue it with a quality to which readers around the world are drawn.