Herein Is a Testament to Them Both
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Daddy, Daddy/Mammy, Mammy: Sylvia Plath and Thomas Kinsella Andrew Browne, National University of Ireland, Galway
Plath Profiles 50 Daddy, Daddy/Mammy, Mammy: Sylvia Plath and Thomas Kinsella Andrew Browne, National University of Ireland, Galway In his memoir The Kick: a Life among Writers , Richard Murphy recalls Thomas and Eleanor Kinsella joining Sylvia Plath, Ted Hughes and himself in Ireland (Murphy, 226-27). Kinsella softens any profound inferences from this meeting in a 1989 interview with Dennis O’Driscoll. In response to O’Driscoll’s comment on the ‘torrid atmosphere’ of the meeting Kinsella says: It doesn’t strike me in retrospect as having been very torrid. It was just a couple of people having trouble. It didn’t have the heavy implications that her subsequent suicide gave it. We went out fishing and, as far as I am concerned, those fish coming up on the hooks were the exciting thing. But we did enjoy her company, and we did drive her back to Dublin; and that’s as much as I remember of it. (O’Driscoll, 59) This remark does not support any spectacular influence between Kinsella and Plath, and this critic is in no position to infer a direct impact upon Kinsella’s work from Plath’s, yet this essay will show connections between Plath’s and Kinsella’s poetry in their psychological imagery. I will also highlight differences while making certain assumptions about the way images of the masculine and feminine are interrogated, and how they impact their personal lives. There is a significant influence from Lowell’s work and there are resonances between the confessional style and parts of Kinsella’s oeuvre. -
"Lady Lazarus" and Lady Chatterley
Plath Profiles 51 "Lady Lazarus" and Lady Chatterley W. K. Buckley, Indiana University Northwest For the October Conference on Plath at IUB, 2012 and Plath Profiles, Volume 5 Supplement, 20121 I. I remember my first reading of Plath, in college, at San Diego State University. We read, of course, all her famous poems from Ariel, as well as "The Jailor" ("I am myself. That is enough"[23]), "The Night Dances" ("So your gestures flake off" [29]). In my youth, on the beaches of Southern California, around a campfire, a group of us read to each other one night the poems of Plath, Ginsberg, Wilfred Owen, and D.H. Lawrence—seeing ourselves as prophets against war, despite that a few of us had been drafted to another oil adventure, including me. (Some of our friends had returned with no eyes or feet). We thought such famous poets could change America. They did not. (Despite Shelley's famous proclamation). Plath said in "Getting There": "Legs, arms, piled outside/The tent of unending cries—" (Ariel 57). Same old, same old historical mistakes: America, our 20th Century Roman Empire, we thought then. On the homefront, sexual activity in public places was then, as is now, monitored by our police, given our rape, murder, and "missing women" statistics, first or second in the world for such. Yet on that night, on that particular night, there was something "warmer" in the air on La Jolla Shores, as if we thought the world had calmed down for a moment. When the police arrived at our campfire, we all invited them to take it easy, since we saw ourselves as ordinary people, having ordinary activities in our ordinary bodies. -
Contemporary British Literary Culture, Higher Education, and the Diversity Scandal
Contemporary British Literary Culture, Higher Education, and the Diversity Scandal by John Coleman A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Language and Literature Carleton University Ottawa, Ontario © 2019, John Coleman Abstract Sociologists have demonstrated that neoliberal British education policies reproduce cultural and racial homogeneity in creative industries workforces. These policies have made fine art and design programs key pathways to work in the creative economy. Yet escalating tuition and the reliance on unpaid internships to gain course credit have meant that students are increasingly drawn from the more affluent socio-economic communities – often predominantly white. The impact on contemporary British literature, particularly writing by minoritized authors, has been remarkable. Despite efforts to increase diversity in the literary book trades, the vast majority of publishing professionals are white, independently wealthy graduates of elite universities. Scholars have said little about how the literary field responds to, manifests, and perpetuates this escalating – and racialized – inequality, whose ramifications are evident in everything from Brexit to the emboldening of the anti-immigrant alt-right movement. My research takes up this task. I discuss how neoliberal education policy has privileged a relatively homogenous creative class, whose hegemony resonates across literary production and literature itself. I analyze responses to this class’ control over the literary sphere in chapters studying the reading charity BookTrust, the decibel program’s prizing of Hari Kunzru’s 2005 novel Transmission, and Spread the Word’s Complete Works Scheme for poets of colour. ii Acknowledgements The devotion of many family members, friends and loved ones has combined to form an invaluable support system throughout my time in university and while writing this dissertation. -
PDF Download Further Requirements: Interviews
FURTHER REQUIREMENTS: INTERVIEWS, BROADCASTS, STATEMENTS AND REVIEWS, 1952-85 PDF, EPUB, EBOOK Philip Larkin,Anthony Thwaite | 416 pages | 04 Nov 2002 | FABER & FABER | 9780571216147 | English | London, United Kingdom Further Requirements: Interviews, Broadcasts, Statements and Reviews, 1952-85 PDF Book When you have read it, take me by the hand As children do, loving simplicity. Shopbop Designer Modemarken. In Thwaite's poems there is rarely much in the way of display and few extravagant local effects. Geben Sie Feedback zu dieser Seite. Andere Formate: Gebundenes Buch , Taschenbuch. Cookies akzeptieren Cookie-Einstellungen anpassen. Thwaite is also an accomplished comic poet. Author statement 'If I could sum up my poetry in a few well-chosen words, the result might be a poem. Entdecken Sie jetzt alle Amazon Prime-Vorteile. Poetry and What is Real. Philip Larkin remains England's best-loved poet - a writer matchlessly capable of evoking his native land and of touching all readers from the most sophisticated intellectual to the proverbial common reader. Etwas ist schiefgegangen. Next page. Weitere Informationen bei Author Central. Philip Larkin. Anthony Thwaite. While Larkin views them in terms of the personal life, or at most, of England, Thwaite, who has travelled widely and worked overseas for extended periods, can also find them in an alien setting, for example in North Africa. Previous page. Artists, cultural professionals and art collective members in the UK and Southeast A… 1 days ago. Sind Sie ein Autor? Urbane, weary, aphoristic, certain that nothing and everything changes, the poems draw both on Cavafy and Lawrence Durrell. This entirely new edition brings together all of Philip Larkin's poems. -
Anna Journey, University of Southern California
Plath Profiles 83 After Ariel: An Argument for Sylvia Plath's Phantom Third Poetry Collection Anna Journey, University of Southern California Phantoms abound in the Sylvia Plath canon. Plath burned her second novel, meant as a gift for her husband, the British poet Ted Hughes, on his birthday in August 1962. Doubletake, Plath's unfinished third novel, "disappeared somewhere around 1970"—long after Plath's suicide in February 1963—Hughes suggests in his introduction to Johnny Panic and the Bible of Dreams (1). According to Diane Middlebrook's biography of the Hughes/Plath marriage, Her Husband, Plath wrote her patroness, Olive Higgins Prouty, that "[Doubletake's] plot was 'semiautobiographical about a wife whose husband turns out to be a deserter and philanderer'" (198). Hughes's mistress, Assia Wevill, after reading the nascent novel, grew offended by the manner in which Plath caricatured the Wevills, as "a 'detestable and contemptible' couple called 'The Goos-Hoppers'"; Wevill openly hoped Hughes would destroy the unfinished novel (Middlebrook 220). More disturbingly, Wevill absconded with some of Plath's valuable manuscripts, which she sent to her sister, intending the stolen literary relics as a "nest egg" for Shura (the daughter Wevill had with Hughes; the daughter she later murdered during her own suicide via a gas oven) (Middlebrook 232). One is left wondering, "What happened to Doubletake?" Even The Unabridged Journals of Sylvia Plath (2000), edited by Karen Kukil, remain incomplete, as a total of two bound journals that Plath used during the last three years of her life are missing from the oeuvre. Hughes, in his foreword to Frances McCullough's 1982 abridged edition of Plath's journals, claims that one of the journals simply "disappeared," much like the draft of Doubletake, while he deliberately destroyed his wife's other "maroon-backed ledger," in order to spare their children from reading about the darkness of their mother's final days (xiv). -
Redgrove Papers: Letters
Redgrove Papers: letters Archive Date Sent To Sent By Item Description Ref. No. Noel Peter Answer to Kantaris' letter (page 365) offering back-up from scientific references for where his information came 1 . 01 27/07/1983 Kantaris Redgrove from - this letter is pasted into Notebook one, Ref No 1, on page 365. Peter Letter offering some book references in connection with dream, mesmerism, and the Unconscious - this letter is 1 . 01 07/09/1983 John Beer Redgrove pasted into Notebook one, Ref No 1, on page 380. Letter thanking him for a review in the Times (entitled 'Rhetoric, Vision, and Toes' - Nye reviews Robert Lowell's Robert Peter 'Life Studies', Peter Redgrove's 'The Man Named East', and Gavin Ewart's 'The Young Pobbles Guide To His Toes', 1 . 01 11/05/1985 Nye Redgrove Times, 25th April 1985, p. 11); discusses weather-sensitivity, and mentions John Layard. This letter is pasted into Notebook one, Ref No 1, on page 373. Extract of a letter to Latham, discussing background work on 'The Black Goddess', making reference to masers, John Peter 1 . 01 16/05/1985 pheromones, and field measurements in a disco - this letter is pasted into Notebook one, Ref No 1, on page 229 Latham Redgrove (see 73 . 01 record). John Peter Same as letter on page 229 but with six and a half extra lines showing - this letter is pasted into Notebook one, Ref 1 . 01 16/05/1985 Latham Redgrove No 1, on page 263 (this is actually the complete letter without Redgrove's signature - see 73 . -
THE NOVELS and the POETRY of PHILIP LARKIN by JOAN SHEILA MAYNE B . a . , U N I V E R S I T Y of H U L L , 1962 a THESIS SUBMITT
THE NOVELS AND THE POETRY OF PHILIP LARKIN by JOAN SHEILA MAYNE B.A., University of Hull, 1962 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF M .A. in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1968 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his represen• tatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia Vancouver 8, Canada April 26, 1968 ii THESIS ABSTRACT Philip Larkin has been considered primarily in terms of his contribution to the Movement of the Fifties; this thesis considers Larkin as an artist in his own right. His novels, Jill and A Girl in Winter, and his first volume of poetry, The North Ship, have received very little critical attention. Larkin's last two volumes of poetry, The Less Deceived and The Whitsun Weddings, have been considered as two very similar works with little or no relation to his earlier work. This thesis is an attempt to demonstrate that there is a very clear line of development running through Larkin's work, in which the novels play as important a part as the poetry. -
The Forties: a Doctorate in Creative and Critical Writing
The Forties: A Doctorate in Creative and Critical Writing Todd Swift Thesis submitted in fulfilment of the degree of PhD University of East Anglia Faculty of Humanities School of Literature and Creative Writing August, 2011 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK copyright law. In addition, any quotation or extract must include full attribution. ABSTRACT Todd Swift, 2011, ‗The Forties: A Doctorate in Creative and Critical Writing‘ This work is in two parts: a portfolio of creative writing (poetry), preceded by a critical thesis. In the critical aspect of my dissertation I contest a dominant account of poetic creation and influence in the period 1938–1954, and consider a third line of influence that arose in post-war British poetry. The methodology follows in the footsteps of Other Traditions by John Ashbery: literary criticism by a practitioner. My critical writing complements my poetry collection, whose various styles and registers relate to the poetic influences discussed. My first three chapters develop the argument as follows: Chapter One considers ideas of ‗style‘ and ‗poetic style‘. Chapter Two narrows in on the idea of ‗period style‘ in poetry and turns more specifically into a discussion of the Forties Style in Poetry. Chapter Three looks directly at the period under question, the Forties, and its key poet, Dylan Thomas, as read by critics. Chapter Four discusses F.T. Prince, a major poet much overlooked. -
Call No. Responsibility Item Publication Details Date Note 1
Call no. Responsibility Item Publication details Date Note TKNC0001 Roberts, H. Song, to a gay measure Dublin: printed at the Dolmen 1951 "200 copies." Neville Press TKNC0002 Promotional notice for Travelling tinkers, a book of Dolmen Press ballads by Sigerson Clifford TKNC0003 Promotional notice for Freebooters by Mauruce Kennedy Dolmen Press TKNC0004 Advertisement for Dolmen Press Greeting cards &c Dolmen Press TKNC0005 The reporter: the magazine of facts and ideas. Volume July 16, 1964 contains 'In the 31 no. 2 beginning' (verse) by Thomas Kinsella TKNC0006 Clifford, Travelling tinkers Dublin: Dolmen Press 1951 Of one hundred special Sigerson copies signed by the author this is number 85. Insert note from Thomas Kinsella. TKNC0007 Kinsella, Thomas The starlit eye / Thomas Kinsella ; drawings by Liam Dublin: Dolmen Press 1952 Set and printed by hand Miller at the Dolmen Press, Dublin, in an edition of 175 copies. March 1952. (p. [8]). TKNC0008 Kinsella, Thomas Galley proof of Poems [Glenageary, County Dublin]: 1956 Galley proof Dolmen Press TKNC0009 Kinsella, Thomas The starlit eye / Thomas Kinsella ; drawings by Liam Dublin : Dolmen Press 1952 Of twenty five special Miller copies signed by the author this is number 20. Set and printed by hand at the Dolmen Press, Dublin, in an edition of 175 copies. March 1952. TKNC0010 Promotional postcard for Love Duet from the play God's Dolmen Press gentry by Donagh MacDonagh TKNC0011 Irish writing. No. 24 Special issue - Young writers issue Dublin Sep-53 1 Thomas Kinsella Collection Listing Call no. Responsibility Item Publication details Date Note TKNC0012 Promotional notice for Dolmen Chapbook 3, The perfect Dolmen Press 1955 wife a fable by Robert Gibbings with wood engravings by the author TKNC0013 Pat and Mick Broadside no. -
Phd Thesis Tunstall Corrected 11:12:15
Vision and Visual Art in Sylvia Plath’s Ariel and Last Poems Submitted by Lucy Suzannah Tunstall to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English June 2015 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 ABSTRACT This dissertation is concerned with Sylvia Plath’s late works. Engaging with critical discussion of what constitutes the corpus of Ariel I show that an appreciation of the editorial history reveals the beginnings of a third book (the last poems) and opens up those difficult and important texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley’s Eye Rhymes examines Plath’s own artwork in an ‘attempt to answer the question, How did Plath arrive at Ariel?’ (1). I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art contribute to those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. -
Bibliography of Works Cited
199 Bibliography of Works Cited Abercrombie, Lascelles. The Idea of Great Poetry. London: Secker, 1926. Abrams, M.H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York: Norton, 1958. Adams, W. Davenport. Introduction. English Epigrams. London: Routledge, 1879: i-xix. Aiken, Conrad. “An Anatomy of Melancholy”. Rev. of The Waste Land, by T.S.Eliot. The New Republic Vol 33 (February 1923): 294-95. Allingham, William, ed. Nightingale Valley: A Collection Including a Great Number of the Choicest Lyrics and Short Poems in the English Language. London: Bell, 1860. Alterton, Margaret. Origins of Poe’s Critical Theory. 1925. New York: Russell and Russell, 1965. Altick, Richard D. The English Common Reader. A Social History of the Mass Reading Public of 1800-1900. Chicago: U of Chicago P, 1957. Amis, Kingsley. Collected Poems 1944-1979. London: Hutchinson, 1979. Anon. “The Circulation of Modern Literature”. Supplement to The Spectator, 3rd June 1863: 16-18. Anon. “A Fragmentary Poem”. Rev of The Waste Land, by T.S.Eliot. TLS No.1131 (Septem- ber 1923): 616. Anon. A Little Book of English Lyrics. London: Methuen, 1900. Anon. “A Prosing on Poetry”. Blackwood’s Edinburgh Magazine Vol 46 (August 1839): 194- 202. Anon. Rev. of Poems Descriptive of Rural Life and Scenery, by John Clare. New Monthly Magazine 1st March 1820: 228 Anon. Rev. of The Life of John Clare, by Frederick Martin. The Spectator 17th June 1865: 668- 70. Anon. “Tennyson’s Poems”. Blackwell’s Edinburgh Magazine Vol 31 (May 1832): 721-741. Anon. The Fugitive Miscellany: Being a Collection of Such Fugitive Pieces in Prose and Verse, as are not in any other Collection, with many pieces never before Published. -
1. Philip Larkin
Notes References to material held in the Philip Larkin Archive lodged in the Brynmor Jones Library, University of Hull (BJL), are given as file numbers preceded by 'DPL'. 1. PHILIP LARKIN 1. Harry Chambers, 'Meeting Philip Larkin', in Larkin at Sixty, ed. Anthony Thwaite (London: Faber and Faber, 1982) p. 62. 2. John Haffenden, Viewpoints: Poets in Conversation (London, Faber and Faber, 1981) p. 127. 3. Christopher Ricks, Beckett's Dying Words (Oxford: Oxford University Press, 1993). 4. D. J. Enright, 'Down Cemetery Road: the Poetry of Philip Larkin', in Conspirators and Poets (London: Chatto & Windus, 1966) p. 142. 5. Hugo Roeffaers, 'Schriven tegen de Verbeelding', Streven, vol. 47 (December 1979) pp. 209-22. 6. Andrew Motion, Philip Larkin: A Writer's Life (London: Faber and Faber, 1993). 7. Philip Larkin, Required Writing (London: Faber and Faber, 1983) p. 48. 8. See Selected Letters of Philip Larkin 1940-1985, ed. Anthony Thwaite (London: Faber and Faber, 1992) pp. 648-9. 9. DPL 2 (in BJL). 10. DPL 5 (in BJL). 11. Kingsley Amis, Memoirs (London: Hutchinson, 1991) p. 52. 12. Philip Larkin, Introduction to Jill (London: The Fortune Press, 1946; rev. edn. Faber and Faber, 1975) p. 12. 13. Donald Davie, Thomas Hardy and British Poetry (London: Routledge & Kegan Paul, 1973) p. 64. 14. Required Writing, p. 297. 15. Blake Morrison, 'In the grip of darkness', The Times Literary Supplement, 14-20 October 1988, p. 1152. 16. Lisa Jardine, 'Saxon violence', Guardian, 8 December 1992. 17. Bryan Appleyard, 'The dreary laureate of our provincialism', Independent, 18 March 1993. 18. Ian Hamilton, 'Self's the man', The Times Literary Supplement, 2 April 1993, p.