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Kindness in Modernist American Poetry. Bridget Dalton Doctor Of Kindness in Modernist American Poetry. Bridget Dalton Doctor of Philosophy The University of East Anglia The School of American Studies January 2016 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 there from must Be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attriBution. For Frances Randle “The grace that comes from knowing Things, her love our own showing Her love in all her honor.” Louis Zukofsky, “A” Abstract: This thesis poses the question, ‘can we find Kindness in modernist American poetry?’ It is a work comprised primarily of detailed and extended close readings that will track Kindness through selections from the works of Gertrude Stein, Ezra Pound, William Carlos Williams, Louis Zukofsky, George Oppen and Charles Reznikoff. Working within an understanding that no interpretation can be naïve, this thesis argues a case for Kindness as a “grammar of reading” that accounts for the readerly experience of the neophyte by considering the notion of “reading in exile”. This is undertaken not only as an ethical step towards accessibility in texts that are conventionally identified as presenting a stark and difficult aesthetics but also with the historical considerations of the relationship between high art and mass culture, with which recent thought on modernism is concerned (Huyssen, Perelman, Jennison). This “grammar of reading” is developed through interpretations of twenty-first century theorists such as Derek Attridge (“singularity”), Jane Bennett (“vibrant matter”) and Eve Kosofsky Sedgwick (“reparative reading” and the “paranoid position”). The theoretical work of this “grammar of reading” is based around the notion of “behaviour” as it evinces a potential critical position that can account for naïveté, vulnerability, and not knowing within reading and within poems themselves. The attendant aim of this project then is to explore the potential and implications of identifying a recognizable Kindness in early-twentieth century modernist poetry. i Contents: Introduction: “The Preparation of the Palette” 1 Chapter 1: An Introduction to Kindness through Gertrude Stein as what Kindness is not 56 Chapter 2: Aesthetic Agency, and “Behaviour”: A discussion through Pound and Williams. 74 Chapter 3: Aesthetic agency and the scattered roots of Kindness in Pound and Williams. 93 Chapter 4: Kindness and Zukofsky’s “Poem Beginning ‘The’”: Assimilation and “The desire for an inclusive object.” 144 Chapter 5. Unions in Poetry: Behaviour and Form in Reznikoff and Oppen. 192 Conclusion: The Kindness in Not Knowing 229 Works Cited 242 ii Introduction: “Preparation of the Palette”1 Alas! Ladies and gentlemen, Art has been maligned. She has naught in common with such practices. She is a goddess of dainty thought—reticent of habit, abjuring all obtrusiveness, purposing in no way to better others. She is, withal, selfishly occupied with her own perfection—only having no desire to teach—seeking and finding the beautiful in all conditions and in all times, as did her high priest, Rembrandt, when he saw a picturesque grandeur and noble dignity in the Jew’s quarter of Amsterdam, and lamented not that the inhabitants were not Greeks. J. A. McNeill Whistler The Ten O’Clock Lecture The October 1912 edition of Harriet Monroe’s magazine Poetry contains Ezra Pound’s “To Whistler, American”, a poem that does not formally astound but does demonstrate an interesting negotiation that Pound is beginning to enter into. By 1912, J. A. McNeill Whistler was dead but his influence on art continued to be felt. He had lived and worked for the great majority of his life in Europe, mostly London. So when Pound entitles his ode to the great painter with the qualifier “American” he is asserting an important point of note—that Whistler, one of the most influential artists of the 19th Century in Europe, was in fact American. Pound reminds his readers, largely American themselves, of the great creative potential of their countrymen. He concludes this poem by taking a typically irreverent, even scornful, attitude to the artist’s country of origin: “You and Abe Lincoln from that mass of dolts/Show us there’s a chance at least of winning through”.2 The poem rejoices in Whistler’s capacity to experiment, to “stretch”, “pry”, “tease”, and “tamper” and thanks him for this legacy on behalf of those artists “Who bear the brunt of our America/And try to wrench her impulse into art”.3 Bearing the brunt of America is an important consideration for this thesis. For Pound, the “brunt” consisted of “provincialism” and what he considered to be petty minded bourgeois thinking as he discusses in his 1913 1Ezra Pound, in a Letter to Felix E. Shilling, Paris, 8-9th July 1922, reprinted in Ezra Pound, The Letters of Ezra Pound, 1907-1941, edited by D. D. Paige (London: Faber and Faber, 1950), 247. 2 Ezra Pound, Personæ: Collected Shorter Poems, rev. and ed. by Lea Baechler and A. Walton Litz (London: Faber & Faber, 2001), 249. 3 Pound, Personæ, 249. 1 essay “Patria Mia”.4 This notion of the “brunt” of America represents part of the kind of emotional negotiation that I want to examine in this thesis. The question of the ever changing “brunt” of America is particularly relevant in the work of the later poets— Reznikoff, Oppen, and Zukofsky—that I will examine; changing in critically, historically and socially informed terms for both poets and thinkers alike, in addition to the aesthetic experimentation that Pound extols in Whistler’s varied oeuvre. It is evident from the claim in the Whistler quote above, and from Pound’s poem, that while aesthetic art in the Whistlerian early modernist tradition purports not to seek any didactic influence it also considers its own ideological position unassailable. It is vital to the modernist genre that it maintain a global and historical hierarchy that informs the aesthetic and which can be fruitful but not really negotiated. Whistler admires Rembrandt for his capacity to see that the Jews of Amsterdam were not in fact Greek, by which I think he means ancient Greek, and for his ability not to regret that. In this moment of admiration, Whistler acknowledges by disavowing the hierarchy that maintained mid-17th Century Dutch Jewry as inherently inferior in relation to a rather general notion of Greek classicism. The relationship between the Hellenic and Hebraic will also prove to be an important point of discussion in this thesis. While Whistler’s work is not central to my thesis his influence sets up an important discussion around aesthetic and ethical discourses that will persist and frame the thesis as a whole. In addition, Whistler’s juxtaposition of the Hebraic and Hellenic here demonstrates a relationship of ongoing importance to modernist aesthetics and one that is central to this thesis. Pound demonstrates his own adherence to a classical, Eurocentric hierarchy when he finds only Lincoln and Whistler in American history to shine amongst the “mass of dolts” whence they all come. Pound’s relationship with America will be addressed in Chapter 2 as it features in “Hugh Selwyn Mauberley”. The poem almost begins with the lament “seeing he had been born | In a half-savage country, out of 4 To quote Pound more fully on his approved forebears: “Whitman established the national timbre. One may not need him at home. It is in the air, this tonic of his. But if one is abroad; if one is ever likely to forget one’s birth-right, to lose faith, being surrounded by disparagers, one can find, in Whitman, the reassurance. Whitman goes bail for the nation. Whistler was our martinet and left his message, almost, it would seem, by accident. It was in substance, that being born an American is no excuse for being content with a parochial standard. It is all very well to say that Whistler was European, but it does not affect my argument. If a man’s work require him to live in exile, let him suffer, or enjoy his exile gladly. But it would be about as easy for an American to become a Chinaman or a Hindoo [sic] as for him to acquire an Englishness, or a Frenchness or a European-ness that is more than half skin deep.” Ezra Pound, Patria Mia (Chicago: Ralph Fletcher Seymour: 1950), 65. 2 date” and then the poem, protagonist and we might also infer, the poet swiftly depart for London.5 Pound’s acrimony toward his “patria” instigates his ode to the Classics; the text is predicated upon the idea that the poet’s sensibilities could not survive in America. Indeed, “America” and “American-ness”, or perhaps an American experience, are often central to the poems I will be reading here. The negotiation of Americanness is vital to the time and location of the production of these poems and is frequently crucial to my understanding of their aesthetic/ethical position. In the context of this thesis, therefore, aesthetics refers to the aesthetic tradition as it develops post-Flaubert with the advent of European modernism. It describes a focus on visual presentations as unassailable instances of integrity, which propose a specific negotiation with public “morality” and presents an ethical position that defines a certain aesthetic pursuit, as both representative of and as an arbiter of “truth”. This development of the aesthetic/ethic relationship is tied up in the complexities of early twentieth-century understandings of America, as new, immigrant, modern, and culturally ambitious. What we see in the opening quotation is that Whistler expresses an understanding of what became known as the aesthetic tradition.
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