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'A True Magic Chamber': the Public Face of the Modernist Bookshop
‘A True Magic Chamber’: The Public Face of the Modernist Bookshop Andrew Thacker Modernist Cultures 11.3 (2016): 429–451 DOI: 10.3366/mod.2016.0149 © Edinburgh University Press www.euppublishing.com/loi/mod Abstract This article explores the role of bookshops in the construction of a public for modernism and analyses a number of bookshops committed to promoting modernist culture, such as those run by Sylvia Beach (Shakespeare and Company), Adrienne Monnier (La Maison des Amis des Livres), and Frances Steloff (Gotham Book Mart). It also considers how the bookshop is a fulcrum between commerce and culture, a key issue for contemporary modernist studies, and discusses aspects of bookshop culture that seem to operate ‘beyond’ the market. One example is that of We Moderns, a catalogue issued by the Gotham Book Mart in 1940 and which represents a fascinating example of the print culture of the modernist bookshop. Drawing upon the work of Mark Morrisson and Lawrence Rainey, the article also evaluates the position of the bookshop within debates around modernism and the public sphere. The Business of the Magic Chamber A member of the public strolling through Paris in the early 1920s who drifts onto the Left Bank in search of culture, might find themselves in the triangle of small streets between the grander avenues of Boulevard St. Michel and the Boulevard St. Germain in the 6th Arrondissement. These are the streets around the Sorbonne and, as such, there are many bookshops servicing the university. Thinking it might be fun to buy a book, a modern or contemporary book, they stroll up Rue de l'Odéon, across from the National Theatre, spying a likely looking bookshop and decide to enter. -
Why Iot Is a Marvelous Work of Art
Journal of Literature and Art Studies, January 2021, Vol. 11, No. 1, 62-70 doi: 10.17265/2159-5836/2021.01.010 D DAVID PUBLISHING Covers and Contents: Why iot is a Marvelous Work of Art Peter L. Hays University of California, Davis, USA iot (1924) was a remarkable artistic achievement. Following collages in the works of Picasso, Braque, and Gris, publisher Bill Bird created a collage of newspaper headlines on the cover of that slim volume that linked to the collage of vignettes within that Hemingway wrote. Both depicted a world losing traditional values, torn by war and despair and increasing commercialism. Subsequent Hemingway book covers by Scribners, at least until The Old Man and the Sea, emphasized sales over art and had little to do with content. Keywords: Hemingway, iot, collage, modernist art Introduction The cover of Ernest Hemingway’s 1924 in our time—behind the lower-case title, lower-case author’s name, publisher’s colophon, and lower-case press name—is a collage of newspaper snippets.1 Only 170 copies of the book survived pristine printing on handmade Rives paper, of the 300 planned, with 120 having the watermark of the paper appear under the frontispiece. 1924 was an advanced year for Cubist collages by Picasso and Braque, both of whom incorporated bits of printed material, often newspapers, into their works of art (“collage” from the French for “to glue”). Picasso’s Still Life with Chair Caning (1911-12) features imitation chaircaning on oilcloth surrounded by a frame of actual rope, and on the chair caning one can read the letters J.O.U., which can be a pun on jouer, to play, which both artists were doing with their collages. -
Writing Communities: Aesthetics, Politics, and Late Modernist Literary Consolidation
WRITING COMMUNITIES: AESTHETICS, POLITICS, AND LATE MODERNIST LITERARY CONSOLIDATION by Elspeth Egerton Healey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2008 Doctoral Committee: Associate Professor John A. Whittier-Ferguson, Chair Associate Professor Kali A. K. Israel Associate Professor Joshua L. Miller Assistant Professor Andrea Patricia Zemgulys © Elspeth Egerton Healey _____________________________________________________________________________ 2008 Acknowledgements I have been incredibly fortunate throughout my graduate career to work closely with the amazing faculty of the University of Michigan Department of English. I am grateful to Marjorie Levinson, Martha Vicinus, and George Bornstein for their inspiring courses and probing questions, all of which were integral in setting this project in motion. The members of my dissertation committee have been phenomenal in their willingness to give of their time and advice. Kali Israel’s expertise in the constructed representations of (auto)biographical genres has proven an invaluable asset, as has her enthusiasm and her historian’s eye for detail. Beginning with her early mentorship in the Modernisms Reading Group, Andrea Zemgulys has offered a compelling model of both nuanced scholarship and intellectual generosity. Joshua Miller’s amazing ability to extract the radiant gist from still inchoate thought has meant that I always left our meetings with a renewed sense of purpose. I owe the greatest debt of gratitude to my dissertation chair, John Whittier-Ferguson. His incisive readings, astute guidance, and ready laugh have helped to sustain this project from beginning to end. The life of a graduate student can sometimes be measured by bowls of ramen noodles and hours of grading. -
Hemingway's Mythical Method
Hemingway’s Mythical Method: Implications of Dante Allusion in In Our Time by William Parker Osbourne Stoker B.A. in English and Religion, May 2014, University of the South: Sewanee A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 19, 2019 Thesis directed by Christopher Sten Professor of English © Copyright 2019 by William P. O. Stoker All rights reserved ii Abstract of Thesis Hemingway’s Mythical Method: Implications of Dante Allusion in In Our Time The widely accepted assessment of Ernest Hemingway’s In Our Time is that the text’s fragmentary form belies a complex but cohesive narrative wholeness. Missing from the critical record, however, is an adequate account of In Our Time’s use of what T.S. Eliot termed “the mythical method.” Using a palimpsestic system of indirect allusion, Hemingway’s fragmentary novel constructs an overarching pattern of reference to the journey of Dante’s pilgrim through Hell and Purgatory in the Divine Comedy. Hemingway’s use of this mythical method not only provides his novel a more concrete narrative framing device than its critics have recognized, but also reflects new dimensions of the influence Dante, Eliot, and Ezra Pound exerted on Hemingway’s earliest work. In particular, similarities between In Our Time and Pound’s Draft of XVI Cantos (both published in 1925), combined with Pound’s well-documented mentorship of Hemingway, suggest Pound may have been a primary source of influence on Hemingway’s apprehension of and engagement with Dante and the epic tradition he represents. -
Hemingway and the Black Renaissance
Hemingway and the Black Renaissance Hemingway and the Black Renaissance Edited by GARY EDWARD HOLCOMB and CHARLES Scruggs THE OHIO STATE UNIVERSITY PREss | COLUMbus Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Hemingway and the Black Renaissance / edited by Gary Edward Holcomb and Charles Scruggs . p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1177-9 (cloth : alk. paper) ISBN-10: 0-8142-1177-1 (cloth : alk. paper) ISBN-13: 978-0-8142-9278-5 (cd-rom) 1. Hemingway, Ernest, 1899–1961—Criticism and interpretation. 2. Hemingway, Ernest, 1899–1961— Influence. 3. American literature—African American authors—History and criticism. 4. Harlem Renaissance— Influence. I. Holcomb, Gary Edward. II. Scruggs, Charles. PS3515.E37Z61776 2012 813'.52—dc23 2011028248 This book is available in the following editions: Cloth (ISBN 978-0-8142-1177-9) CD-ROM (ISBN 978-0-8142-9278-5) Cover design by Laurence J. Nozik Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS ACKNOWLEDGMENTS ix INTRODUCTION Hemingway and the Black Renaissance GARY EDWard Holcomb and Charles Scruggs 1 CHAPTER 1 A Shared Language of American Modernism: Hemingway and the Black Renaissance MARK P. Ott 27 CHAPTER 2 Hemingway’s Lost Presence in Baldwin’s Parisian Room: Mapping Black Renaissance Geographies Joshua PARKER 38 CHAPTER 3 Looking for a Place to Land: Hemingway’s Ghostly Presence in the Fiction of Richard Wright, James Baldwin, and Ralph Ellison Charles Scruggs 55 CHAPTER 4 Knowing and Recombining: Ellison’s Ways of Understanding Hemingway Joseph Fruscione 78 CHAPTER 5 Free Men in Paris: The Shared Sensibility of James Baldwin and Ernest Hemingway D. -
The “Objectivists”: a Website Dedicated to the “Objectivist” Poets by Steel Wagstaff a Dissertation Submitted in Partial
The “Objectivists”: A Website Dedicated to the “Objectivist” Poets By Steel Wagstaff A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English) at the UNIVERSITY OF WISCONSIN‐MADISON 2018 Date of final oral examination: 5/4/2018 The dissertation is approved by the following members of the Final Oral Committee: Lynn Keller, Professor, English Tim Yu, Associate Professor, English Mark Vareschi, Assistant Professor, English David Pavelich, Director of Special Collections, UW-Madison Libraries © Copyright by Steel Wagstaff 2018 Original portions of this project licensed under a CC BY-SA 4.0 license. All Louis Zukofsky materials copyright © Musical Observations, Inc. Used by permission. i TABLE OF CONTENTS Acknowledgements ..................................................................................... vi Abstract ................................................................................................... vii Introduction ............................................................................................... 1 The Lives ................................................................................................ 31 Who were the “Objectivists”? .............................................................................................................................. 31 Core “Objectivists” .............................................................................................................................................. 31 The Formation of the “Objectivist” -
Reading Escape and Writing It
Reading Escape and Writing It Intimacy and Away in the Hemingway Aesthetic David Andrew Burke Master’s Thesis, ILOS UNIVERSITETET I OSLO 15 May 2018 II © David Andrew Burke 2018 Reading Escape and Writing It: Intimacy and Away in the Hemingway Aesthetic David Andrew Burke http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo III Abstract In this thesis I will lay out an argument for an implicit intimacy between Hemingway and his reader that runs counter to a great deal of the tired ideas we have about the writer. I will propose that the aesthetic dimension mediated by the Hemingway reading experience promises a mutual escape for both the reader and the writer, and that that intimacy and that promise of escape is at the heart of Hemingway’s continuing appeal to the reader. At first glance this may seem ridiculous, in part due to our common ideas about Hemingway and perhaps more directly because of the more than seventy years of critical explanations which have more or less reworked the same terrain by speaking about style and subject matter, the “iceberg technique,” violence, manliness and so forth. But an attentive observer may pause to ask if these old hats still fit. When I first encountered Ernest Hemingway, I was a child in the twenty-first century. And sure, some of those old hats still adorned the bust of my image of Hemingway, but what kept me reading was not the presence of the things I was told that I would find there. Instead, what kept me reading what that little secret, that little shared experience that no one ever told me about. -
Elin Käck, Phd Linköping University [email protected] Singing, Calling
Elin Käck, PhD Linköping University [email protected] Singing, Calling, Answering, and Listening: Dialogism in Al Que Quiere! This was going to be a very straightforward and simple paper. I was going to present the opening stanza of “Gulls,” well-known to all of you, and consider the parts of singer, townspeople and others from the perspective of modernism, more specifically the material conditions of American modernism, activating notions of autonomy, audience, collaboration, and internationalism. This would be done by drawing parallels to Williams’s own interactions with others in the world beyond, and particularly in Europe. I would conclude that these interactions, though vigorous, are always, to some extent, fraught with difficulty because of the uneven power structure established in the poem: the American poet singer listens to the European or Europe-centered others, answers their calls, but they pay him little heed. At least this is what the poet singer seems to think. Instead, they pass, and they do so because they are free to do so, something which, by implication, our poet singer is not. All of this would, in my reading, translate into a Euro-American relationship that is affected by what is at this time still a European hegemony within the arts, a situation which neatly explains the disgruntled singer and his conflicted relationship to the townspeople to whom he has been tasked with singing. In short, in so far as the world beyond is also a cosmopolitan world of letters, Literature with a capital L, getting admitted is difficult without first having been heard, having received the attention and necessary entry ticket from Europe, where, at the time, literary capital—shall we say literariness—is awarded. -
Modern American Poets and Their Printers
Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) Spring 2009 Modern American Poets and Their Printers Sally Dickinson Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Book and Paper Commons, and the Poetry Commons Recommended Citation Dickinson, Sally, "Modern American Poets and Their Printers" (2009). Watkinson Publications. 14. https://digitalrepository.trincoll.edu/exhibitions/14 Modern American Poets and Their Printers An Exhibition at the Watkinson Library February 2 to June 15, 2009 The Raether Library and Information Technology Center Trinity College, Hartford, Connecticut I too, dislike it: there are things that are important beyond all this fiddle. Reading it, however, with a perfect contempt for it, one discovers in it after all, a place for the genuine. So begins Marianne Moore’s poem in which she explores the values of poetry. Moore was part of a tremendous flowering of creativity in the arts that was linked to modern life and, more specifically, new ways of writing poetry in the 20th century. This exhibition focuses on a selection of poets who broke away from the Romantic traditions of the 19th century. It also explores the independent, literary publishers who printed innovative writing because it was their passion. The exhibition begins with the expatriate writers in Paris of the 1920’s, who exuberantly lived and wrote in an avant-garde style, making it difficult for them to get work published by established firms. Instead, they were befriended, supported and printed by small publishers dedicated to helping new voices be heard. -
A Moveable Feast
Hemingway's Paris, interactive map ERNEST HEMINGWAY A Moveable Feast If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast. ERNEST HEMINGWAY to a friend, 1950 Edited for educational purposes by Karen Nicolas Contents Preface Chapter Birth of a New School 10 Note With Pascin at the Dôme 11 A Good Café on the Place St.-Michel 1 Ezra Pound and His Bel Esprit 12 Miss Stein Instructs 2 A Strange Enough Ending 13 “Une Génération Perdue” 3 The Man Who Was Marked for Death 14 Shakespeare and Company 4 Evan Shipman at the Lilas 15 People of the Seine 5 An Agent of Evil 16 A False Spring 6 Scott Fitzgerald 17 The End of an Avocation 7 Hawks Do Not Share 18 Hunger Was Good Discipline 8 A Matter of Measurements 19 Ford Madox Ford and the Devil’s Disciple 9 There Is Never Any End to Paris 20 Preface For reasons sufficient to the writer, many places, people, observations and impressions have been left out of this book. Some were secrets and some were known by everyone and everyone has written about them and will doubtless write more. There is no mention of the Stade Anastasie where the boxers served as waiters at the tables set out under the trees and the ring was in the garden. Nor of training with Larry Gains, nor the great twenty-round fights at the Cirque d’Hiver. -
The Expatriate Experience, Self Construction, and the Flâneur in William Carlos Williams’ a Voyage to Pagany
THE EXPATRIATE EXPERIENCE, SELF CONSTRUCTION, AND THE FLÂNEUR IN WILLIAM CARLOS WILLIAMS’ A VOYAGE TO PAGANY Patrick Gill A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2007 Committee: Kimberly Coates, Advisor Erin Labbie Gill ii ABSTRACT Kimberley Coates, Advisor This thesis looks at the representation of expatriation in American literature and questions the extent to which it encompasses the various types of experience for American expatriate authors in the 1920s. In this project, I look at A Voyage to Pagany, a fictional expatriate account from the devotedly American William Carlos Williams and set it apart from other works of that era. I argue that Williams reappropriates the figure of Charles Baudelaire’s flâneur in his work to show that the true expatriate experience is not specific to milieus inhabited by artists but is contingent upon the act of writing. By excavating the tradition of the flâneur in his work, Williams questions the idea that the flâneur is specifically a Parisian figure. As opposed to theorists, such as Walter Benjamin, who are adamant in their stance that the flâneur must be Parisian, Williams prioritizes the wandering artist’s occupation with writing over the artist’s national allegiance. In Williams’ novel, the expatriate must move away from the writing circles of Paris in order to fully engage the imagination and enact the process of writing. The trajectory of Pagany is such that the figure of Dev Evans, the novel’s protagonist, equates his travels and his position as a foreign inhabitant of Europe with his role as an artist. -
Journal of the Short Story in English, 68 | Spring 2017 D.H
Journal of the Short Story in English Les Cahiers de la nouvelle 68 | Spring 2017 Special Issue: Transgressing Borders and Borderlines in the Short Stories of D.H. Lawrence D.H. Lawrence's Ghost: Rest, (E)motion, and Imagined Transatlantic Modernism in Kay Boyle's "Rest Cure" Anne Reynes-Delobel Electronic version URL: http://journals.openedition.org/jsse/1832 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 June 2017 Number of pages: 143-159 ISBN: 978-2-7535-6516-6 ISSN: 0294-04442 Electronic reference Anne Reynes-Delobel, « D.H. Lawrence's Ghost: Rest, (E)motion, and Imagined Transatlantic Modernism in Kay Boyle's "Rest Cure" », Journal of the Short Story in English [Online], 68 | Spring 2017, Online since 01 June 2019, connection on 03 December 2020. URL : http://journals.openedition.org/ jsse/1832 This text was automatically generated on 3 December 2020. © All rights reserved D.H. Lawrence's Ghost: Rest, (E)motion, and Imagined Transatlantic Modernism ... 1 D.H. Lawrence's Ghost: Rest, (E)motion, and Imagined Transatlantic Modernism in Kay Boyle's "Rest Cure" Anne Reynes-Delobel 1 Written in the months following D. H. Lawrence’s death, “Rest Cure” narrates a fictional episode in the English writer’s final days in Vence, France, in early 1930. Not only the story’s main theme (the writer dying and his fear of death) but also its startling imagery and particular texture unmistakably indicate the influence – even fascination – Lawrence exerted on the younger American poet and writer Kay Boyle (1902-1992). Lawrence was among the first modern writers Boyle began to read as a teenager in Saint Paul and Cincinnati, and continued with unabated interest after she moved to New York and then to France in the early 1920s.