DOCSLIB.ORG

Wallace Stevens, Collected Poetry and Prose, Sel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wallace Stevens, Collected Poetry and Prose, Sel WALLACE STEVENS Wallace Stevens, The Collected Poems, (London, 2nd impression, 1959). Wallace Stevens, Collected Poetry and Prose, sel. and ed. Frank Kermode and Joan Richardson (Library of America; New York, 1997). Wallace Stevens, Harmonium (London, 1975) [exact reprint of the New York 1923 edition]; see also Harmonium, ed. Frank Kermode (Penguin Books, New York, 1999), and Buttel (Robert), Wallace Stevens; The Making of 'Harmonium' (Princeton, 1967). Wallace Stevens, The Necessary Angel; Essays on Reality and the Imagination (New York, 1951). Wallace Stevens, Opus Posthumous, ed. Milton J. Bates (London, rev. and enl. ed., 1990). Wallace Stevens, The Letters, ed. Holly Stevens (London, 1967). Sur Plusieurs Beaux Sujets: Wallace Stevens' Commonplace Book, ed. Milton J. Bates (Stanford and San Marino, 1989). Stevens (Holly), Souvenirs and Prophecies; The Young Wallace Stevens (New York, 19077). Brazeau (P.), Parts of a World: Wallace Stevens Remembered (New York, 1983). Richardson (Joan), Wallace Stevens, the Early Years, 1879-1923 (New York, c.1986) Richardson (Joan), Wallace Stevens, the Later Years, 1923-1955 (New York, 1988) Sharpe (Tony), Wallace Stevens; A Literary Life (Basingstoke, 2000). Edelstein (J.M.), Wallace Stevens: A Descriptive Bibliography (Pitsburgh, 1973). Serio (John N.), Wallace Stevens: An Annotated Secondary Bibliography (Pittsburg, 1994). Bates (Milton J.), 'Stevens' Books at the Huntington: An Annotated Checklist', Wallace Stevens Journal, 2 (1978), 45-61; 3 (1979), 70; see also 20 (1996), 76-103. Edelstein (J.M.), 'The Poet as Reader: Wallace Stevens and His Books', The Book Collector, 23 (1974), 53-68. Martz (Louis L.), 'Manuscripts of Wallace Stevens', The Yale University Library Gazette, 34 (1979), 65. 2 Arensberg (Mary), 'Introduction: The American Sublime', in The American Sublime, ed. M. Arensberg (Albany, N.Y., 1986); see also Wilson (Rob), American Sublime; The Genealogy of a Poetic Genre (Madison, Wis., 1991). Altieri (Charles), 'Motives in Metaphor: John Ashbery and the Modernist Long Poem', Genre, 11 (1978). Altieri (Charles), 'Why Stevens Must Be Abstract or What Poets Can Learn from Painting', in Wallace Stevens; the Poetics of Modernism, ed. A. Guelpi (Cambridge, 1985). Altieri (Charles), Painterly Abstraction in Modernist American Poetry; The Contemporaneity of Modernism (Cambridge, 1989). Altieri (Charles), 'The Pound/Stevens Era', Wallace Stevens Journal, 26 (2002), 228-50. Beehler (Michael T.), 'Inversion/Subversion: Strategy in Stevens' 'The Auroras of Autum', Genre 11 (1978). Berger (Charles), Forms of Farewell; The Late Poetry of Wallace Stevens (Madison, Wis., 1985). Bevis (William W.), Mind of Winter; Wallace Stevens, Meditation, and Literature (Pittsburg, 1988). Blackmur (R.P.), Language as Gesture; Essays in Poetry (London, c.1954). Bloom (H.), 'Notes Towards a Supreme Fiction: A Commentary', in M. Borroff (ed.), Wallace Stevens: A Collection of Critical Essays (Englewood Cliffs, N.J., 1963), pp. 76-95. Bloom (H.), Wallace Stevens; The Poems of our Climate (Ithaca and London, 1977). Brun (Gerald L.) 'Stevens without Epistemology', in Wallace Stevens: The Poetics of Modernism, ed. Albert Gelpi (Cambridge, 1985). Caldwell (Price) '"Sunday Morning": Stevens' Makeshift Romantic Lyric', Southern Review 15 (1979), 933-52. Carroll (Joseph), Wallace Stevens's Supreme Fiction; A New Romanticism (Baton Rouge, La, 1987). Cleghorn (Angus), 'Questioning the Composition of Romance in "The Idea of Order at Key West"', Wallace Steverns Journal, 22 (1998), 23-38. Cook (Eleanor), Poetry, Word-Play, and Word-War in Wallace Stevens (Princeton, N.J., 1988). Davidson (Michael), 'Wallace Stevens and Contemporary Poetics', in Wallace Stevens; the Poetics of Modernism, ed. A. Gelpi (Cambridge, 1985). DeMaria (Robert, Jr), 'The Thinker as Reader: The Figure of the Reader in the Writing of Wallace Stevens', Genre 12 (1979). Dickie (Margaret) 'Wallace Stevens and the Inverted Dramatic Monologue', Wallace Stevens Journal, 16 (1992), 22-36. 3 Doggett (Frank), Wallace Stevens; The Making of the Poem (Baltimore and London, 1980). Doggett (Frank) and Buttel (Robert) (eds), Wallace Stevens; A Celebration (Princeton, 1980). Donoghue (Denis) 'Nuances of a Theme by Wallace Stevens', in The Act of the Mind: Essays on the Poetry of Wallace Stevens, ed. J. Hillis Miller and Roy Harvey Pearce (Baltimore, 1965). Feshbach (Sidney), 'A Pretext for Wallace Stevens' "Sunday Morning"', Journal of Modern Lit., 23 (1999), 59-78. Filreis (Alan), Wallace Stevens and the Actual World (Princeton, N.J., 1991). Filreis (Alan), Modernism from Right to Left: Wallace Stevens, the Thirties and Literary Radicalism (Cambridge, 1994). Frye (Northrop), 'The Realistic Oriole; A Study of Wallace Stevens', in his Fables of Identity; Studies in Poetic Mythology (New York, 1963), pp. 238-55. Frye (Northrop), 'Wallace Stevens and the Variation Form', in his Spiritus Mundi: Essays on Literature, Myth and Society (Bloomington, Ind., 1976). Gelpi (Albert) (ed.), Wallace Stevens; The Poetics of Modernism (Cambridge, 1985). Gelpi (Albert), A Coherent Splendor; The American Poetic Renaissance, 1910- 1950 (Cambridge, 1987), Chap. 2. Heller (Michael), 'Oppen and Stevens: Reflections on the Lyrical and the Philosophical', Sagetrieb, 12 (1993), 13-22. Hertz (David Michael), Angels of Reality; Emersonian Unfoldings in Wright, Stevens and Ives (Carbondale, Ill., 1993). Jarrell (Randall), 'Reflections on Wallace Stevens', Partisan Review, 18 (1951), 335-44. Kenner (Hugh), A Homemade World; The American Modernist Writers (New York, 1975). Kermode (Frank), Wallace Stevens (reprinted, with a new preface by the author, New York, 1979); see also 'Afterthoughts on Wallace Stevens' (1966-7) reprinted in his Modern Essays (2nd ed., London, 1990). Kermode (Frank), '"Notes Towards a Supreme Fiction": A Commentary', Annali dell'Instituto Universitario Orientale: Sezione Germanica, 4 (Naples, 1961), 173-201. Lawler (Justus George), Celestial Pantomime; Poetic Structures of Tran- scendence (New Haven and London, 1979). Leggett (B.J.), Wallace Stevens and Poetic Theory (Chapel Hill, 1987). Lensing (George), Wallace Stevens: A Poet's Growth (London, 1986). Lentricchia (Frank), Modernist Quartet (Cambridge 1994). 4 Levenson (Michael H.) A Genealogy of Modernism; A Study of English Literary Doctrine 1908-1922 (Cambridge, 1984). Litz (A. Walton), 'Williams and Stevens: the Quest for a Native American Modernism', in R.P. Draper (ed.), The Literature of Region and Nation (Basingstoke, 1989). Longenbach (James), Wallace Stevens: The Plain Sense of Things (Oxford, 1991). Lowell (Robert), 'Wallace Stevens' (1947), in his Collected Prose, ed. Robert Giroux (London, 1987), pp. 12-16. MacLeod (Glen G.), Wallace Stevens and Company; The Harmonium Years, 1913-1923 (Epping, c.1983). MacLeod (Glen G.), Wallace Stevens and Modern Art; From the Armory Show to Abstract Expressionism (New Haven, 1993). Magnus (Laury), '"And Things Beyond Resemblance": On Stevens' Embedded Similes', Wallace Stevens Journal, 11 (1987), 12-20. Magnus (Laury), The Track of the Repetend; Syntactic and Lexical Repetition in Modern Poetry (New York, 1989). Martz (Louis) 'Wallace Stevens: The World as Meditation', Yale Review, 47 (1958), 517-36. Marx (Leo), The Machine in the Garden (Oxford, 1964). Mazur (Krystyna), Poetry and Repetition; Walt Whitman, Wallace Stevens, John Ashbery (New York, 2005). Miller (J. Hillis), 'Stevens' Rock and Criticism as Cure', Georgia Review, 30 (1976), 5-31, 330-48. Miller (J. Hillis), 'Wallace Stevens' Poetry of Being' (revised from appearance in The Act of the Mind, see below), and 'When is a Primitive like an Orb' (1986), in his Tropes, Parables, Performatives; Essays on Twentieth- Century Literature (New York, 1990), pp. 33-49, 227-44. Morris (Tim), Wallace Stevens; Poetry amnd Criticism (Cambridge, 2006) [with very full up-to-date bibliography]. Oliphant (Dave) and Zigal (Thomas) (eds), WCW & Others; Essays on William Carlos Williams and his Association with Ezra Pound, Hilda Doolittle, Marcel Duchamp, Marianne Moore, Emanuel Romano, Wallace Stevens and Louis Zukofsky (Austin, Tex., c.1985). Pearce (Roy Harvey) and Miller (J. Hillis) (eds), The Act of the Mind; Essays on the Poetry of Wallace Stevens (Baltimore, Md., 1965). Perloff (Marjorie), 'Pound/Stevens: Whose Era?', in her The Dance of the Intellect; Studies in the Pound Tradition (Cambridge, 1985). Perloff (Marjorie), 'Revolving in Crystal: The Supreme Fiction and the Impasse of Modernist Lyric', in Wallace Stevens; The Poetics of Modernism, ed. Albert Gelpi (Cambridge, 1985). Rehder (Robert M.), The Poetry of Wallace Stevens (Basingstoke, 1988). 5 Rehder (Robert), Stevens, Williams, Crane, and the Motive for Metaphor (Basingstoke, 2004). Riddel (Joseph N.), The Clairvoyant Eye; The Poetry and Poetics of Wallace Stevens (Baton Rouge, 1965). Riddel (Joseph), 'Interpreting Stevens: An Essay on Poetry and Thinking', Boundary 2, 1 (1972), 79-97. Riddel (Joseph), 'The Climate of Our Poem', Wallace Stevens Journal, 7 (1983), 59-75. Santayana (George), Interpretations of Poetry and Religion (New York, 1900, reprinted, Cambridge, Mass., 1990). Schwarz (Daniel Roger), Narrative and Representation in the Poetry of Wallace Stevens; A Tune Beyond Us, Yet Ourselves (Basingstoke, 1993). Simons (Hi), 'The Comedian as the Letter C: Its Sense and Significance', Southern Review, V (1940), 453-68. Springer (Mary Doyle), 'Closure in a Half Light: Wallace Stevens' Endings', Wallace Stevens Journal, 16 (1992), 161-181. Strom (Martha),
Load more

Recommended publications
  • Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English ISSN: 0976-8165
    About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com www.the-criterion.com The Criterion: An International Journal in English ISSN: 0976-8165 The Creative Dominance: Probing the Presence of Black Colour as the Condition for Imaginative Activity in Wallace Stevens’Harmonium Sruthi B Peet Memorial Training College Mavelikara, Kerala The raging ocean that covered everything was engulfed in total darkness, and the power of God was moving over the water. Then God commanded “Let there be light” –and light appeared. God was pleased with what he saw. Then he separated the light from darkness, and he named the day “light” and the darkness “night”. (Genesis 1:1-5) In the biblical account of creation, black preceded the creation of light. Even the big bang theory won’t prove the precedence of darkness wrong. This primordial colour in mythologies is related to fertility.In Black: The History of a Color, Pastoureau mentions that: This originary black is also found in other mythologies, not only in Europe but also in Asia and Africa. It is often fertile and fecund, as the Egyptian black that symbolizes the silt deposited by the waters of the Nile, with its beneficial floods that are anticipated hopefully each year, it is opposite of the sterile red of the desert sand.
    [Show full text]
  • 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.
    [Show full text]
  • Galaxy: International Multidisciplinary Research Journal
    About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal Bi-Monthly Refereed and Indexed Open Access eJournal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 8, Issue-III, June 2017 ISSN: 0976-8165 Where Does Divinity Lie? A Critical Re-reading of the Poem “Sunday Morning” by Wallace Stevens Ujala Shamnani Assistant Professor of English Nirma University,Ahmedabad, Gujarat,India. Article History: Submitted-29/05/2017, Revised-25/06/2017, Accepted-30/06/2017, Published-05/07/2017. Abstract: “Sunday Morning” is one of the most fascinating and thematically resonant poems of Wallace Stevens. It is one of the collected pieces from Wallace Steven’s first book of poetry called Harmonium. It is a series of eight fifteen line stanzas. The first version of the poem was published in 1915 and then it was published in full in 1923.The poem unsettles and questions the traditional ways of perceiving religion and divinity which clearly reflects the modernist approach of the poet. Generally the poem is considered as an expression of paganism but the poem is much more than just an expression of paganism. It questions the complexity of our existence by posing serious questions about how our religious beliefs affect the way we perceive nature. The poet does not want us to reach an easy substitute but he wishes to make us realise the fact there is no ‘the’ particular way of understanding divinity.
    [Show full text]
  • En Trees for Lakeview Commons
    Reading Forest Todd Gilens Selected Phrases and Sources July 23, 2019 AS DRAWN ORIGINAL EXCERPT AUTHOR TITLE PAGE a more complex moral attitude sees fire as an ally in the But we are called now to a more complex moral attitude, Gary Snyder Back on the Fire 15 forest, even while recognizing its power to do damage where we see fire as an ally in the forest, even while recognizing its power to do damage. a pool shines, like a bracelet shaken in a dance a pool shines, like a bracelet shaken in a dance Wallace Stevens "Six Significant Landscapes", in Collected Works 74 all things are delicately interconnected All things are delicately interconnected Jenny Holzer "Truisms," in Blasted Allegories, an Anthology of 104-11 Writings by Contemporary Artists (Brian Wallis, ed.) and yet you must go on an endless road, since life flows And yet you must go [down?] an endless road, since life Carl Jung Red Book, readers edition 250 not only down a finite path but also an infinite one flows not only down a finite path but also an infinite one. are there deeper, slower variables in social systems, such Are there deeper, slower variables in social systems, such Carl Folke et al Resilience Thinking: Integrating Resilience, np as identity, core values, and worldviews that constrain as identity, core values, and worldviews that constrain Adaptability and Transformability adaptability? adaptability? art is realistic when it strives to express our ethical ideal Art is realistic when it strives to express our ethical ideal Andre Tarkovsky Sculpting in Time 113 as life creates the conditions for fire, fire reshapes the life creates the conditions for fire, fire reshapes the living Stephen J.
    [Show full text]
  • Cultural Colonization in Poems by Wallace Stevens
    Cultural Colonization in Poems by Wallace Stevens Catholic University of Korea, Republic of Korea The Asian Conference on Literature & Librarianship 2014 Official Conference Proceedings 2014 0341 Abstract The reason for Wallace Stevens' scepticism regarding cultural colonies is clear. Most of the people in America are descendents of immigrants who bring with them their own cultural ideas to a colony. That is the reality of the American situation, and it is also Stevens' modest understanding of the reality of an America that was still in the process of trying to express its cultural relationship to the vast continent of North America. Tacit in that choice, however, is a rejection of a political solution that would preserve out-of-date cultural ideals such as that contained in the example of General Andrew Jackson, a figure who appears several times in Stevens' poetry and prose and who was famous both for waging brutal wars against the Seminole Indians in Florida and for being a champion of a populist form of political democracy. Stevens' emphasis on failure and division in his poems about American colonization, then, can be understood as a way to defamiliarize a political understanding of who Americans are as a people in order to create a basis for a new modernist cultural understanding of an American place. Of the many characters and motifs that typify Stevens' imaginary colonists in exile, I will focus on Stevens' hidalgo figure as a unifying concept to cover all figures who fail at cultural colonization in Stevens' poems. The term hidalgo, meaning a Spanish country gentleman, only appears five times in the corpus of Stevens' poetry, but it can be deployed usefully to describe a colonist from a traditional as opposed to a modern culture.
    [Show full text]
  • Fall 2005 the Wallace Stevens Journal
    The Wallace Stevens Journal Special Issue Wallace Stevens and Ezra Pound A Publication of The Wallace Stevens Society, Inc. Volume 29 Number 2 Fall 2005 The Wallace Stevens Journal Volume 29 Number 2 Fall 2005 Contents The Two Voices of Wallace Stevens’ Blank Final Music —Andrew Goldstone 213 “These Minutiae Mean More”: Five Editions of Wallace Stevens’ “Esthétique du Mal” —Jeff Jaeckle 233 From Deconstruction to Decreation: Wallace Stevens’ Notes Toward a Poetics of Nobility —Ayon Roy 249 The Lyric Element and the Prosaic World in “The Idea of Order at Key West” —Victoria Shinbrot 263 Anding and Ending: Metaphor and Closure in Stevens’ “An Ordinary Evening in New Haven” —Karen Helgeson 275 Poems 304 Reviews 310 News and Comments 324 Cover Wallace Stevens On the occasion of receiving an honorary doctorate from Wesleyan University on June 15, 1947 (AP/Wide World Photos) The Wallace Stevens Journal EDITOR John N. Serio POETRY EDITOR ART EDITOR BOOK REVIEW EDITOR Joseph Duemer Kathryn Jacobi George S. Lensing EDITORIAL ASSISTANTS EDITORIAL BOARD William T. Ford Milton J. Bates A. Walton Litz Maureen Kravec Jacqueline V. Brogan James Longenbach Faye A. Serio Robert Buttel Glen MacLeod Hope Steele Eleanor Cook Marjorie Perloff Alan Filreis Joan Richardson TECHNICAL ASSISTANT B. J. Leggett Melita Schaum Sue Campbell George S. Lensing Lisa M. Steinman The Wallace Stevens Society, Inc. PRESIDENT ADVISORY BOARD John N. Serio Milton J. Bates Joseph Duemer Owen E. Brady Kathryn Jacobi Robert Buttel George S. Lensing David M. Craig A. Walton Litz The Wallace Stevens Journal is published biannually in the Spring and Fall by the Wallace Stevens Society, Inc.
    [Show full text]
  • Wallace Stevens
    Wallace Stevens (1879-1955) Sunday Morning (1915) I Complacencies of the peignor, and late Coffee and oranges in a sunny chair, And the green freedom of a cockatoo Upon the rug mingle to dissipate The holy hush of ancient sacrifice. She dreams a little, and she feels the dark Encroachment of that old catastrophe, As a calm darkens among water-lights. The pungent oranges and bright, green wings Seem things in some procession of the dead, Winding across wide water, without sound. The day is like wide water, without sound, Stilled for the passing of her dreaming feet Over the seas, to silent Palestine, Dominion of the blood and sepulchre. II Why should she give her bounty to the dead? What is divinity if it can come Only in silent shadows and in dreams? Shall she not find in comforts of the sun, In pungent fruit and bright, green wings, or else In any balm or beauty of the earth, Things to be cherished like the thought of heaven? Divinity must live within herself: Passions of rain, or moods in falling snow; Grievings in loneliness, or unsubdued Elations when the forest blooms; gusty Emotions on wet roads on autumn nights; All pleasures and all pains, remembering The bough of summer and the winter branch. These are the measures destined for her soul. III Jove in the clouds had his inhuman birth. No mother suckled him, no sweet land gave Large-mannered motions to his mythy mind. He moved among us, as a muttering king, Magnificent, would move among his hinds, Until our blood, commingling, virginal, With heaven, brought such requital to desire The very hinds discerned it, in a star.
    [Show full text]
  • The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens
    Cleveland State University EngagedScholarship@CSU ETD Archive 2017 The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens Lauren Cannavino Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the Literature in English, North America Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cannavino, Lauren, "The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens" (2017). ETD Archive. 1010. https://engagedscholarship.csuohio.edu/etdarchive/1010 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE CREATION OF SPACE FOR ENGAGED READING AND CREATIVE INTERPRETATION IN THE COLLECTED WORKS OF WALLACE STEVENS Lauren Cannavino Bachelor of Arts in English Cleveland State University December 2006 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at CLEVELAND STATE UNIVERSITY December 2017 THIS THESIS IS HEREBY APPROVED FOR Lauren Cannavino candidate for the Master of Arts degree in English for the Department of English & CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by ____________________________________________________ Thesis Chairperson, Dr. Frederick J. Karem _______________________________________
    [Show full text]
  • Selecting Three Poems by W. Stevens: a Roundtable Discussion
    University of Pennsylvania ScholarlyCommons Poetics Studies Papers Department of English 10-2009 Selecting Three Poems by W. Stevens: A Roundtable Discussion Alan Filreis University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/poetics_papers Part of the Literature in English, North America Commons Filreis, Alan, "Selecting Three Poems by W. Stevens: A Roundtable Discussion" (2009). Poetics Studies Papers. 3. https://repository.upenn.edu/poetics_papers/3 Excerpt reprinted from: George S. Lensing, J. Donald Blount, Jacqueline Vaught Brogan, Stephen Burt, Eleanor Cook, Alan Filreis. Selecting Three Poems by W. Stevens: A Roundtable Discussion. The Wallace Stevens Journal, vol. 33, no. 2 (Fall 2009), pg. 238-257 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/poetics_papers/3 For more information, please contact [email protected]. Selecting Three Poems by W. Stevens: A Roundtable Discussion Abstract Three poems by Stevens indicate a particular aesthetic predicament, expressions of near-cessation: "Mozart, 1935," "The Man with the Blue Guitar," and "The Plain Sense of Things." In the third poem, the imagination re-emerges at precisely the point of its termination. In the second, the poet ventures into pure sound just when an ideological model for the poem collapses. In the first, the poem is the esultr of a dodge on the matter of others' pain. Keywords poetry, poetics, Wallace Stevens, modernism, sound poetry Disciplines Literature in English, North America Comments Excerpt reprinted from: George S. Lensing, J. Donald Blount, Jacqueline Vaught Brogan, Stephen Burt, Eleanor Cook, Alan Filreis. Selecting Three Poems by W. Stevens: A Roundtable Discussion.
    [Show full text]
  • Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism
    Syracuse University SURFACE The Courier Libraries Spring 1992 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism Alan Filres University of Pennsylvania Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Arts and Humanities Commons Recommended Citation Filres, Alan, "Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism" (1992). The Courier. 293. https://surface.syr.edu/libassoc/293 This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIBRARY AS SOC lATE S COURIER VOLUME XXVII, NUMBER 1, SPRING 1992 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XXVII NUMBER ONE SPRING 1992 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism By Alan Filreis, Associate Professor ofEnglish, 3 University ofPennsylvania Adam Badeau's "The Story ofthe Merrimac and the Monitor" By Robert]. Schneller,Jr., Historian, 25 Naval Historical Center A Marcel Breuer House Project of1938-1939 By Isabelle Hyman, Professor ofFine Arts, 55 New York University Traveler to Arcadia: Margaret Bourke-White in Italy, 1943-1944 By Randall I. Bond, Art Librarian, 85 Syracuse University Library The Punctator's World: A Discursion (Part Seven) By Gwen G. Robinson, Editor, Syracuse University 111 Library Associates Courier News ofthe Syracuse University Library and the Library Associates 159 Modernism from Right to Left: Wallace Stevens, the Thirties, and Radicalism BY ALAN FILREIS Author's note: In writing the bookfrom which thefollowing essay is ab­ stracted, I need have gone no further than the George Arents Research Li­ brary.
    [Show full text]
  • Place in the Poetry of Wallace Stevens and Robert Bringhurst
    The “Cure of the Ground”: Place in the Poetry of Wallace Stevens and Robert Bringhurst by Kirsten Hilde Alm B.Sc., University of Saskatchewan, 2001 M.A., Trinity Western University, 2011 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY In the Department of English © Kirsten Hilde Alm, 2016 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. ii The “Cure of the Ground”: Place in the Poetry of Wallace Stevens and Robert Bringhurst by Kirsten Hilde Alm B.Sc., University of Saskatchewan, 2001 M.A., Trinity Western University, 2011 Supervisory Committee Dr. Nicholas Bradley, Supervisor Department of English Dr. Iain Macleod Higgins, Departmental Member Department of English Dr. Margaret Cameron, Outside Member Department of Philosophy iii Abstract This study analyzes the Canadian poet, typographer, and translator Robert Bringhurst’s (b. 1946) extensive engagement with the poetry, poetics and metaphysical concerns of the American modernist poet Wallace Stevens (1879-1955). It asserts that Bringhurst’s poetry responds to Stevens’ poetry and poetics to a degree that has not previously been recognized. Although Bringhurst’s mature poetry—his works from the mid-1970s and after—departs from the obvious imitation of the elder poet’s writing that is present in his early poems, it continues to engage some of Stevens’ central concerns, namely the fertility of the liminal moment and/or space and a meditative contemplation of the physical world that frequently challenges anthropocentric narcissism.
    [Show full text]
  • The Life of Wallace Stevens. Simon & Schuster, 2016
    NOTRE DAME REVIEW REDUCING THE MONSTER: SOME ORDINARY EVENINGS WITH WALLACE Paul Mariani. The Whole Harmonium: The Life of Wallace Stevens. Simon & Schuster, 2016. J. D. Garrick The greenness of night lies on the page and goes Down deeply in the empty glass… —Stevens, “Phosphor Reading by His Own Light” If it wasn’t for his personal life, he was a happy man. —said of Stevens by a colleague We enjoy the ithy oonts and long-haired Plomets, as the Herr Gott Enjoys his comets. —Stevens, “Analysis of a Theme” A damned fine poet but he couldn’t fight. —Hemingway, of Stevens This fellow has heresy in his essay. —Joyce, A Portrait of the Artist as a Young Man In Conan Doyle’s The Valley of Fear, Sherlock Holmes remarks to his partner in crimesolving: You are developing a certain un-expected vein of pawky humour, Watson, against which I must learn to guard myself. It might have been news ninety years ago that Wallace Stevens liked to make jokes. But even today too many of us, one mutters, have taken Stevens too seriously too often, haven’t guarded ourselves; it’s that Hartford-respectable cover portrait on the old Knopf edition of the Collected Poems leading us astray. Some of the stiff-brace titles for recent books on Stevens’s work invite parody and would have amused Stevens. But surprisingly, the photo representing Stevens for Paul Mariani’s biography The Whole Harmonium is more suggestive of Watson’s pawky humourist, a fellow who might be more than a little impish—the kind of man who gives his poems droll titles like “Nudity at the Capital,” “A Rabbit as King of the Ghosts,” “Of the Manner of Addressing Clouds,” “Lytton Strachey, Also, Enters into Heaven,” and, of 126 J.D.
    [Show full text]