Wallace stevens poetry pdf

Continue American poet Wallace StevensThivens in 1948 Bourne (1879-10-02)October 2, 1879Read, Pennsylvania, USA DiedAugust 2, 1955 (1955-08-02) (age 75)Hartford, Connecticut, U.S.OccupationPoet, Lawyer, Insurance ExecutivePeriod1914-1955Leat MovementConsy MovementConsying WorksHarmony Idea of Order on Ki WestMan with Blue GuitarAura AutumnModern PoetrySobert Frost Medal (1951)SpouseElsie Viola Cachel (m. 1909 -1955)ChildrenGolly Stevens (1924-1992)The signature of Wallace Stevens (October 2, 1879 - August 2, 1955) was an American modernist poet. Born in Reading, Pennsylvania, he was educated at Harvard and then new York Law School, and spent most of his life working as an executive director at an insurance company in Hartford, Connecticut. In 1955, he received the Pulitzer Prize for poems for collected poetry. Stevens' first writing period begins with his publication in 1923 of harmonium, followed by a somewhat revised and amended second edition in 1930. His second period occurred at eleven years old just before the publication of his Transport to the summer, when Stevens wrote three volumes of poems, including Ideas of Order, The Man with the Blue Guitar, Parts of the World, along with Transport to Summer. His third and final period of writing was the publication of Aurora Autumn in the early 1950s, and his Collected Poems was published in 1954, the year before his death. Among his most famous poems are The Aurora of Autumn, Anecdote Jara, Disappointment Ten Hours, Emperor Ice Cream, The Idea of Order on Key West, Sunday Morning, Snowman and Thirteen Ways to Look at a Black Bird. In 1879, in Reading, Pennsylvania, he was born into a Lutheran family in the family of John Seller, his maternal great-grandfather, who settled in the Susquehanna Valley in 1709 as a religious refugee. Educated and married the son of a successful lawyer, Stevens studied at Harvard as a failed three-year special student from 1897 to 1900. According to his biographer, Milton Bates, Stevens was personally introduced to the philosopher George Santayan while living in Boston, and was heavily influenced by the book Santayana's Interpretation of Poetry and Religion (1900). Holly Stevens, his daughter, recalled her father Santayan's long devotion when she posthumously reprinted her father's collected letters in 1977 for Knopf. In one of his early diaries, Stevens described how he spent an evening with Santaina in the early 1900s and sympathized with Santayan's poor review, which was published at the time regarding Santayana's book Interpretation. After Harvard, Stevens moved to New York and worked as a journalist for a time. He then attended New York Law School, graduating law education in 1903, following the example of two other brothers with a law degree. During a trip to Reading in 1904, Stevens met Elsie Viola Kahel (1886-1963, also known as Elsie Mall), a young woman who worked as a saleswoman, miller and stenographer. After much courtship, he married her in 1909 because of the objections of his parents, who considered her ill-educated and lower-class. As The New York Times reported in 2009, none of his family attended the wedding, and Stevens never visited or spoken to his parents during his father's life. Daughter Holly was born in 1924. She was baptized by the Episcopal, and then posthumously edited her father's letters and a collection of his poems. Stevens' wife, Elsie, may have been a model for the National Walking Liberty for half a dollar when the couple lived in New York in 1913, Stevens rented a New York apartment from sculptor Adolf A. Weinman, who made a bust of Elsie. Her striking profile may have been used on Weinman's 1916-1945 Mercury Penny and Walking Liberty Half Dollar. In later years, Elsie Stevens began to show symptoms of mental illness, as a result of which the marriage fell apart, but the couple remained married. In his biography of Stevens, Paul Mariani says that the couple was largely estranged, separated by almost a full decade at the age, although lived in the same house by the mid-1930s, stating: ... there were signs of a household fracture to consider. From the start, Stevens, who had not shared a bedroom with his wife for years, moved into the bedroom with his attached study on the second floor. After working for several New York law firms between 1904 and 1907, he was hired in January 1908 as a lawyer for the American Bonding Company. By 1914, he was vice president of the New York office of the Equitable Surety Company in St. Louis, Missouri. When this job was laid off after the merger in 1916, he joined the home office of The Hartford Accident and Indemnity Company and moved to Hartford, where he remained for the rest of his life. Stevens' residence in Hartford. His career as a businessman-lawyer and poet in his spare time received considerable attention, as summarized in Thomas Gray's book concerning his insurance executive career. Gray summarized part of Stevens' day-to-day responsibilities, which included assessing insurance claims, saying: If Stevens dismissed the claim and the company was sued, he hired a local attorney to defend the case in the place where it would be handled. Stevens would instruct an outside lawyer through a letter examining the circumstances of the case and astonishing the company's substantial legal position; then he'll walk out of the case, delegating all decisions on procedure and litigation In 1917, Stevens and his wife moved to 210 Farmington Avenue, where they remained for the next seven years and where he completed his first book of poetry, Harmony. From 1924 to 1932, he lived at 735 Farmington Avenue. In 1932, he acquired colonial in the 1920s at 118 Westerly Terrace, where he lived the rest of his life. According to his biographer Paul Mariani, Stevens was financially independent as an insurance executive, earning by the mid-1930s $20,000 a year, equivalent to about $350,000 today (2016). And this is at a time (during the Great Depression) when many Americans were out of work, searching through trash cans to produce food. By 1934, he was appointed vice president of the company. After receiving the Pulitzer Prize in 1955, he was offered a position as a professor at Harvard, but he refused because it would have required him to relinquish his vice presidency in Hartford. Throughout his life, Stevens was politically conservative and was described by critic William York Tindall as a Republican in the form of Robert A. Taft. Between 1922 and 1940, Stevens traveled to Kee West, Florida, and usually stayed at the Casa Marina hotel in the Atlantic Ocean. He first visited it in January 1922 while on a business trip. The place is paradise, he wrote Elsie, in summer weather, the sky is brilliantly clear and intensely blue, the sea blue and green for what you've ever seen. Kee West's influence on Stevens' poetry is evident in many of the poems published in his first two collections, Harmonium and Ideas of Order. In February 1935, Stevens met the poet Robert Frost at Casa Marina. The two men argued, and Frost reported that Stevens was drunk and behaving inappropriately. According to his biographer Paul Mariani, Stevens often visited representative institutions during the ban with both friends and poets. The following year, Stevens was in an altercation with Ernest Hemingway at a party at The Waddell Avenue house of a mutual friend in Key West. Stevens broke his arm, apparently from a blow to Hemingway's jaw, and was repeatedly knocked down on Hemingway Street. Stevens later apologized. Paul Mariani, Stevens' biographer, refers to this as, ... right in front of Stevens was a very nemesis to his imagination - an anti-poet poet (Hemingway), a poet of extraordinary reality, as Stevens later called him, who put him in the same category as other anti-trump, William Carlos Williams, except that Hemingway was fifteen years younger and much faster than Williams, and much less friendly. So it began, with Stevens swinging at the bespectacled Hemingway, who seemed to weave like a shark, and Dad hitting his one-two and Stevens going down impressively, as Hemingway would remember him, in a puddle of fresh In 1940, Stevens made his last trip to The West. Frost was at Casa Marina again, and again the two men argued. As paul Mariani's sister in his Stevens life-writing exchange in Key West in February 1940 included the following comments: Stevens: Your poems are too academic. Frost: Your poems are too executive. Stevens: The problem with you, Robert, is that you write about objects. Frost: The problem with you, Wallace, is that you write about Brick-a-bra. By the end of February 1947, when Stevens was about 67 years old, it became apparent that Stevens had completed the most productive ten years of his life in writing poetry. In February 1947, his volume of poems entitled Transport to Summer was published, which was well received by F. O. Mathissen, writing for The New York Times. In the eleven years immediately leading up to its publication, Stevens wrote three volumes of poems, including Ideas of Order, The Man with the Blue Guitar, Parts of the World, and Transport for Summer. They were all written before Stevens began writing his well-received poem, Aurora Autumn. In 1950- 1951, when Stevens received the news that Santayana had retired to live in a retirement facility in Rome for the last years, Stevens wrote a poem by the Old Philosopher in Rome in memory of his mentor while a Harvard student: It is a kind of complete greatness at the end, with each visible thing enlarged and still nothing more than a bed , a chair and moving nuns, a huge theater, a pillow porch, a book and a candle in your amber room. The latest illness and death As reported by his biographer Paul Mariani, Stevens maintained a large, bodily figure for most of his life, standing at 6 feet 2 inches and weighing up to 240 pounds, which required some treating doctors to put him on a medical diet during his life. On March 28, 1955, Stevens went to see Dr. James Moher for a health condition. Dr. Moher's examination found nothing and ordered Stevens to undergo X-rays and an Enema barium on April 1, none of which showed anything. On April 19, Stevens underwent the G.I. Series, which revealed diverticulitis, gallstone and a badly bloated stomach. Stevens was admitted to St. Francis Hospital and was rushed by Dr. Benedict Landry on April 26. It was found that Stevens suffered from stomach cancer in the lower colon and blocked normal digestion of food. Lower-road oncology was almost always fatally diagnosed in the 1950s, although this direct information was withheld from Stevens, although his daughter Holly was fully informed and advised not to tell her father. Stevens was released in a temporary outpatient condition on May 11 and returned to his home on May 11 A terrace to restore strength. His wife insisted on helping him when he recovered, but she suffered a stroke last winter and she was unable to help as she had hoped. Stevens was admitted to Avery Hospital on May 20. By early June, he was stable enough to attend a ceremony at the University of Hartford to receive an honorary doctorate in humanities. On June 13, he went to New Haven to receive an honorary doctorate from Yale University. On June 20, he returned to his home in Westerly Terrace and insisted on working for a limited time. On 21 July, Stevens was admitted to St. Francis Hospital again and his condition deteriorated. On August 1, though he was bedridden, he was animated enough to say a few forgiving words to his daughter before falling asleep after the usual hours of visitation; he was found dead the next morning on August 2, 1955 at eight-thirty in the morning. He was buried in Cedar Hill Cemetery in Hartford. Stevens' lifespan is almost exactly the same as that of Albert Einstein, who (like Stevens) was born in 1879 and died in 1955. Paul Mariani, in his biography of Stevens, points out that Stevens' friends knew that over the years and on many visits to New York, Stevens was in the habit of visiting St. Patrick's Cathedral for meditative purposes while in New York. Stevens discussed the theododicy with Island Arthur Hanley during his final weeks, and was eventually converted to Catholicism in April 1955 by Arthur Hanley, chaplain at St. Francis Hospital in Hartford, Connecticut, where Stevens spent his final days suffering from stomach cancer. This alleged conversion of the deathbed is disputed, especially by Stevens' daughter, Holly, who was not present during the address under Hanley. The appeal was confirmed by both Hanley and the witness nun, present at the time of the address and communion. Stevens' obituary in the local newspaper was minimal at the family's request for details of his death. Stevens' obituary, which appeared in Poetry magazine, was attributed to William Carlos Williams, who found it appropriate and justified to compare his late friend's poetry with Dante's in his Vita Nuova and Milton's The Lost Paradise. At the end of his life, Stevens left unfinished his big ambitions to rewrite Dante's Divine Comedy for those who live in darwin's world, not plato's world. Stevens's reception with B. R. Ambedkar, the father of the Indian Constitution, at Columbia University on June 5, 1952, the beginning of the 20th century, followed the publication of his first collection of poems, published as Harmonium in the early 1920s. Comments on the poems were made by other poets and a number of critics including William Carlos Williams and Hello Simons. Helen Wendler, in her book on Stevens's poetry, noted that much of the early reception of his poems was focused on the symbolic reading of his poems, often using a simple substitution of metaphors and images for their stated equivalents in meaning. For Wendell, this method of reception and interpretation was often limited to its usefulness and was eventually replaced by more effective forms of literary evaluation and review. In the late 20th century after Stevens' death in 1955, literary interpretations of his poetry and critical essays began to flourish with full-length books written about his poems by such prominent literary scholars as Helen Wendler and Harold Bloom. Wendell's two books on Stevens' poetry distinguished his short poems and long poems and offered to consider these verses in separate forms of literary interpretation and criticism. Her research has more poems in her book titled On The Extended Wings and lists Stevens with more poems, including a comedian like Letter C, Sunday Morning, Le Monocle de Mont Oncle, as decorations in a negro cemetery, clover owls, a man with a blue guitar, a hero's exam during war, Notes to Higher Fiction, Aesthetics du Mal, Description Without Place, Confidence of Summer, Polar Lights and his last long poem Ordinary Evening in New Haven. Another full-length study of Stevens' poetry in the late 20th century is called The Comic Spirit of Wallace Stevens by Daniel Fuchs. The beginning of the 21st century Interest in reading and receiving Stevens' poetry continues in the early 21st century with a full volume dedicated to the Library of America's collected works and poetry by Stevens. Charles Altieri, in his book on reading Stevens as a poet of what Altieri calls philosophical poetry, presents his own reading of philosophers such as Hegel and Wittgenstein, presenting a speculative interpretation of Stevens in accordance with this interpretive approach. Simon Critchley, in his 2016 book Things Merely: Philosophy in the Poetry of Wallace Stevens, points to the sophistication of understanding the interaction of reality and poetry in The Wallace Stevens verses, stating: Stephen's later poems stubbornly show how the mind cannot take over the ultimate nature of the reality it encounters. Reality recedes before the imagination that shapes and orders it. Poetry, therefore, experience failure. As Stevens says in a famous late poem, the poet gives us ideas about things, not the thing itself. The interpretation of Stevens' poetry and interpretation was widespread and diverse. Leonard and Wharton in their book The Fluent Mundo indicate at least four such schools of interpretation with the main supporters of Stevens find in the critics Harvey Pierce and Helen Regeuiro, who supported the thesis that Stevens later poetry denies the value of imagination for the sake of an unobstructed view of things themselves. The next school of interpretation identified by Leonard and Wharton is the romantic school of interpretation led by Joseph Riddel, Harold Bloom, James Baird and Helen Wendler. The third school of interpretation of Stevens is located who sees Stevens as heavily influenced by 20th century continental philosophy, which includes J. Hillis Miller, Thomas J. Hines, and Richard Maxey. The fourth school sees Stevens as a fully Husserlian or Heideggerian in the approach and tone of writing and which is led by Hines, McKee, Simon Critchley, Glauco Cambon, and Paul Beauvais. These four schools of interpretation offer occasional agreement and disagreement with the prospect, for example, Critchley of the Heidegger School reads Bloom Stevens's interpretation as beginning in an anti-realistic school, seeing that Stevens is not in an anti-realistic school of poetic interpretation. The maturity of Stevens's poetry is a rare example of a poet whose main output came mostly only when he approached the age of forty. His first major edition (four poems from a sequence entitled Phases in the November edition of Poetry) was written at the age of 35, although as a student at Harvard, Stevens wrote poetry and exchanged sonnets with George Santayana, with whom he had been close for most of his life. Many of his canonical works were written well after he turned 50. According to the literary critic Harold Bloom, who called Stevens the best and most representative American poet of the time, no Western writer since Sophocles had such a late heyday of artistic genius. His contemporary, Harriet Monroe, called Stevens a poet, rich and numerous and profound, provocative joy, a creative beauty in those who can answer him. Helen Wendler notes that Stevens's long poems contain three distinct moods: ecstasy, apathy and reluctance between ecstasy and apathy. She also notes that his poetry was greatly influenced by paintings by Paul Klee and Paul Cezanne: Stevens saw in the paintings both Paul Klee, who was his favorite artist, and Cezanne, what work he wanted to do himself as a modernist poet. Klee imagined the symbols. Klee is not a directly realistic artist and is full of whimsical and whimsical and creative and humorous projections of reality in his paintings. Paintings are often mysterious or full of riddles, and Stevens loved that as well. Stevens liked Cezanne's reduction, one might say, of peace to several monumental objects. Stevens' first book of poetry, volume called Harmonium, was in 1923 and reissued in second edition in 1930. Two more books of his poems were published in the 1920s and 1930s and three more in the 1940s. He received the annual National Book Prize for Poetry twice, in 1951 for Aurora of Autumn and in 1955 for collected poems. Imagination and reality for Thomas Gray, Stevens' biographer, who specializes in attention to Stevens as a businessman, Stevens partly recounted his poetry with his poet's creative abilities, assigning his lawyer's duties more to the reality of skit with ends in his personal life. Gray finds rabbit's poem as the king of ghosts as useful for understanding the approach that Stevens took in his life's separation between his poetry and his profession stating: Law and his prose were separated from poetry, and supplied a form of relief for Stevens as a contrast to poetry as a milkman (pictured as a realist in a poem) frees from moonlight as a walk around the priority But was clear: imagination, poetry and secrecy, pursued for hours; the intelligence, prose and clarity they were engaged in during working hours were secondary and instrumental. In writing for Southern Review, Hello Simons typicaled much of the early Stevens as a minor romantic subject, before becoming a realist and naturalist in his more mature and more widely recognized idiom of later years. Stevens, whose work became meditative and philosophical, became largely a poet of ideas. The poem must resist intelligence / Almost successfully, he wrote. As for the connection between consciousness and the world, in Stevens' work imagination is not equivalent to consciousness and is not a reality equivalent to the world, because it exists outside our minds. Reality is a product of imagination as it shapes the world. Because it is constantly changing as we try to find creatively satisfying ways of perceiving the world, reality is an activity, not a static object. We approach reality with different understandings, putting together parts of the world in an attempt to make it seem consistent. To understand the world to build a worldview through the active exercise of imagination. This is not a dry, philosophical activity, but a passionate participation in finding order and meaning. So Stevens will write in Idea Order in Kee West, Oh! Blessed fury for order, pale Ramon, the fury of the creator, to order the words of the sea, the words of fragrant portals, vague-stars, both of ourselves and about our origins, in ghostlier demarcation, sharp sounds. In his book Opus Posthumously, Stevens writes, After someone has given up faith in God, poetry is what is the essence that takes its place as the redemption of life. But as the poet tries to find fiction to replace the lost he immediately faces a problem: direct knowledge of reality is impossible. Stevens suggests that we live in tension between the forms we accept when the world acts on us and the ideas of order that our imagination imposes on the world. The world affects us in our most normal activities: Dress women Lhassa, / In its place, / Invisible element of this place / Made visible. As Stevens says in his essay Imagination as Value, The truth seems to be that we live in concepts of imagination before we set them. Supreme fiction Notes Toward a Supreme Fiction is a lyrical three-part poetic work containing 10 poems each, with a preface and an epilogue that reveals and closes all work from three parts. It was first published in 1942 and represents a comprehensive attempt by Stevens to publish his view on the art of writing poetry. Stevens studied the art of poetic expression in many of his writings and poems, including The Necessary Angel, where he stated, Imagination loses its vitality because it ceases to adhere to what is real. When it sticks to the unreal and reinforces something that is unreal, while its first effect can be extraordinary, this effect is the maximum effect it will ever have. Throughout his poetic career, Stevens has been concerned about what to think about the world now that our old notions of religion are no longer enough. His decision can be summarized by the concept of Higher Fiction, an idea that will serve to correct and improve old notions of religion along with old notions of the idea of God, of which Stevens was critical. In this example, from the satirical High Toned Old Christian Woman, Stevens plays with concepts of immediately accessible, but ultimately unsatisfactory, notions of reality: Poetry is the highest fiction, madame. Take the moral law and make it a nave and from the nave build the haunted skies. Thus, conscience is transformed in the palm of your hand, like windy cygras, crave hymns. We agree in principle. Is that clear. But take the opposite law and make a peristile, and from the peristile project mask outside the planets. Thus, our lustfulness, unpurged epitaph, indulged, at last, equally transformed in the palm of your hand, squiggling like saxophones. And palm for the palm tree, madame, we are where we started. Saxophones wriggle because, as Jay Hillis Miller says of Stevens in his book Poets of Reality, the theme of universal oscillations is a constant theme of Stevens's poetry: Very many of Stevens's poems show an object or a group of objects in aimless vibrations or circling movements. After all, reality remains. The ultimate fiction is that the conceptualization of reality, which seems to be in her rightness, so much so that she seems to have captured, if only for a moment, something real and real. I'm an angel angel saw for a moment standing at the door. However, I am the necessary angel of the earth, since, in my opinion, you see the earth again, cleared of its rigid and stubborn, obscure set, and, in my ear, you hear its tragic drone Rise liquidly in liquid lingering as water words are flooded; The figure half-seen, or seen for a moment, a man of mind, the ghost of clothes in clothes such an easy look that turning my shoulder and quickly, too fast, I left? In one of his last poems, taken from his collected 1955 poem, The Ultimate Soliloments of the Inner Lover, Stevens describes the experience of an idea that satisfies the imagination, and he states it as: The world, imaginary, is the ultimate good. Stevens puts this thought in the individual human mind and writes about its compatibility with its own poetic interpretation of God, stating, Within its vital boundary, in the mind, / We say that God and imagination are one.../ How high this highest candle illuminates darkness. The poetic critique of the old religion Imaginary knowledge of the type described in Final Soliloke necessarily exists in the mind, as it is an aspect of the imagination that will never be able to achieve the direct experience of reality. We say that God and imagination are one thing... How high that highest candle lights up the darkness. From this same light, from the central mind We make a dwelling in the evening air, in which it is enough to be there together. Stevens concludes that God and the human imagination are closely identified, but this sense of rightness that has existed for so long with this old religious idea of God may be available again. This supreme fiction will be no less important to our being, but modern in our lives, in a way that God's old religious idea can never again be. But with the right idea, we can again find the same solace that we once found in old religious ideas. Stevens also finds some value in full contact with reality. Only, in fact, can he achieve his spiritual self, which can withstand the disintegrating forces of life with this harsh knowledge... Powerful power though the mind ... he can't find absolutes. Heaven lies about seeing a man in his sensual perception of the world ...; everything about it is part of the truth. [71] ... Poetry Excelling music must take the place of the empty sky and its hymns, Self in Poetry must take its place, thus, Stevens's poems accept the relationship that are a consequence of those early spiritual currents that persist in the unconscious flow of the imagination. The poem refreshes life so that we share, / For a moment, the first idea ... It satisfies / Faith in a flawless beginning / And sends us, winged unconscious will, / To a flawless end . The first idea is that the basic reality that in front of all the others that The truth is true; but since all knowledge depends on its time and place, that supreme fiction will certainly be transient superfluous. It is a necessary angel of subjective reality - a reality that must always be qualified - and as such, always misses the mark to some extent - always contains elements of unreality. Miller sums up Stevens's position: While it's dissolving itself to one side end of everything, in a different way it's a happy liberation. There are only two beings left: man and nature, subject and object. Nature is a physical world, visible, audible, tangible, present to all senses, and man is consciousness, nothing that receives nature and turns it into something unreal... The influence of Nietzsche Aspects of Stevens' thought and poetry is based on the writings of Friedrich Nietzsche. Stevens's poem Description without place, for example, directly mentions the philosopher: Nietzsche in Basel studied the deep pool of these discoloration, mastering the movement and movement of their forms in such motley motions of empty time. Scientists tried to track Nietzsche's influence on Stevens' thoughts as a whole. While Stephen's intellectual attitude toward Nietzsche is complex, it is clear that Stevens shares a philosophical view on topics such as religion, change, and personality. Milton J. Bates notes that ... In a 1948 letter to Rodriguez, Theo Stevens expressed his autumn mood with an allusion to Nietzsche: How it oozes despite pumpkins and glacial frost and the onslaught of books, paintings, music and people. It's finished, says Mr. Haratustra; and one goes to the club canoe and has a pair of Martinis and pork chops and looks down the river space and participates in the decay, decomposition, admiring finale (L 621). Whatever Nietzsche might think of the canoe club and his kitchen, he would appreciate the rest of the writing, which excoriates a world in which the weak are influenced by being strong and strong silent, in which the group of life has all but eliminated male character. Literary influenceS from the first, critics and other poets praised Stevens. Hart Crane wrote to a friend in 1919, having read some of the poems that make up Harmony: There is a man whose work makes most of us quail. The Poetry Foundation states that by the early 1950s, Stevens was considered one of America's greatest contemporary poets, an artist whose precise abstractions had a significant impact on other writers. Some critics, such as Randall Jarrell and Ivor Winters, praised Stevens' early work but were critical of his more abstract and philosophical later poems. Harold Bloom, Helen Wendler and Frank Kermode are among the critics who have strengthened position in the canon as one of the key figures of American modernist poetry of the 20th century. Bloom called Stevens a vital part of American mythology, and unlike Winters and Jarrell, Bloom cited Stevens' later poems, such as The Poems of Our Climate, as among Stevens' best poems. Commenting on Stevens's place among contemporary poets and previous poets, his biographer Paul Mariani said: The true circle of philosophers-poets Stevens included Pound and Eliot, as well as Milton and the great romantics. Moreover, E. E. Cummings was simply a shadow poet, while Blackmoor (a modern critic and publisher) did not even deign to mention Williams, Moore or Hart Crane. In popular culture In 1976, In Atelier Crommelynck, David Hockney released a portfolio of twenty etchings called The Blue Guitar: Etchings by David Hockney, which was inspired by Wallace Stevens, who was inspired by Pablo Picasso. The engravings refer to the themes of Stevens' poem The Man with the Blue Guitar. Petersburg Press published the portfolio in October 1977. In the same year, St. Petersburg also published a book in which the text of the poem accompanied the images. Both titles of John Crowley's early story, first published in 1978 as Where Spirits Gat Them Home, later collected in 1993 as Her Bounty to the Dead, come from Sunday Morning. John Irving cites a poem by Stevens Plot against the Giant in his novel Hotel New Hampshire. In Terrence Malick's film Badlands, the nicknames of the main characters Red and Kit may have a reference to Stevens' poem, Red Love Kit. Nick Cave quoted the lines And waves, the waves were soldiers moving in his song We Call the Author. They come from a poem by Stevens Dry Bread. Vic Chesnatt later recorded a song called Wallace Stevens on his album North Star Deserter. The song refers to a poem by Stevens Thirteen in ways of looking at the Black Bird. Stevens was awarded an American postage stamp in 2012. also Look Bird with Copper, Keen Claws Awards While Living, Stevens has received numerous awards in recognition of his work, Including: Bollingen Prize for Poetry (1949), National Book Prize for Poetry (1951, 1955) for The Auroras of Autumn, Collected Poems by Wallace Stevens Frost (1951) (1923) Harmony of the Public Domain audiobook on LibriVox Ideas of Order (1936) Clover Owls (1936) The Man with the Blue Guitar (1937) Parts of the World (1942) Transport to Summer (1947) Polar Autumn Lights (1950) Collected Poems by Wallace Stevens, New York: Vintage: Vintage: Vintage: Vintage: Vintage 1954.Posthumous collectionsOpus posthumously (1957) Palma at the End of Reason (1972) Collected Poetry and Prose (New York: Library of America, 1997) Selected Poems (John N. Serio, Ed.) (New York: Alfred A. Knopf, 2009) Necessary Angel (essay) (1951) Posthumous Publications Letters of Wallace James Stevens, edited by Holly Stevens (1966) Moon Secretaries: Letters by Wallace Stevens and Jose Rodriguez Theo, edited by Beverly Coyle and Alan Filreis (1986) Sur plusieurs beaux sujects: Wallace Stevens in The Ordinary Book, edited by Milton J. Bates (1989) Contemplated Spouse: Letters by Wallace Stevens in Elsiechel, edited by J.D. Blanth (2006) : 50%;text-alignment: left; Vertical alignment: top; | Plays Three Travelers Watch Sunrise (1916) Links - Adelaide's Kirby Morris. Wallace Stevens Imagination and Faith. Princeton University Press. 1974. Page 12. - Cambridge companion Wallace Stevens. Stevens and High Fiction, Milton Bates, p.49. And b Richardson, Joan. Wallace Stevens: Later Years, 1923-1955, New York: Book of Beech Tree, 1988, p. 22. George Santayana. Interpretations of poetry and religion. Introduction by Joel Porte, MIT Press, page xxix. - Contemplated Spouse: Letters by Wallace Stevens Elsie Kachel, edited by J. Donald Blount (University of South Carolina Press, 2006) - b Vendler, Helen (August 23, 2009). A simple sense of things. The New York Times. Ron Devlin (May 20, 2011). Wallace Stevens' wife is believed to have been a model for the figure on Mercury's Penny. Reading Eagle. Received on April 18, 2020. Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Page 174. Richardson, Joan. Wallace Stevens: Early Years, 1879-1923, New York: Beech Tree Books, 1986, p. 276. Richardson, Early Years, Supra, page 424. Richardson, Early Years, Supra, 445 and Thomas Gray. The Wallace Stevens case. Harvard University Press. 1991. Page 17. Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Page 182. Richardson, Later Years, Supra, 87. Richardson, Later Years, Supra, page 423. Joey, Dana; Kennedy, XJ (2005). Literature: Introduction to Fiction, Poetry and Drama: Wallace Stevens: Biography. Longman. Archive from the original dated July 24, 2011. Received on February 14, 2010. Leonard, John (July 27, 1970). Times books. The New York Times., Moore, Harry T. (1963). Foreword to Wallace Stevens: Images and Judgments. University of Southern Illinois Press Office. p. xi. Letters from Wallace Stevens, selected and edited by Holly Stevens - Collected poems by Wallace Stevens: About Florida, Venus, Idea of Order in Key West, Farewell to Florida - Problems with Robert Frost and Wallace Stevens, April 14, 2009 Article from the website Western Literary Seminar - Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Hemingway knocked Wallace Stevens into a puddle and bragged about it, a March 20, 2008 article from the website of the Ki West Literary Workshop - Ernest Hemingway: Selected Letters 1917-1961, ed. Carlos Baker and Paul Mariani. Biography of Wallace Stevens. Page 207. Robert Frost: Life, Jay Parini and Paul Mariani. Biography of Wallace Stevens. Image caption #17, after page 212. Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Page 312. Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Pages 152- 181. a b c Peter Brazeau, Parts of the World: Wallace Stevens remembered (New York: The Random House, 1983), 289. a b c Peter Brazeau, Parts of the World: Wallace Stevens remembered (New York: The Accidental House, 1983), 290. Peter Brazeau, Parts of the World: Wallace Stevens remembered (New York: The Random House, 1983), 291. Peter Brazeau, Parts of the World: Wallace Stevens remembered (New York: The Random House, 1983), 293. Peter Brazeau, Parts of the World: Wallace Stevens remembered (New York: The Random House, 1983), 296. - Letter from Arthur Hanley's Father to Professor Janet McCann, July 24, 1977 - Maria Chirurginho, The Last Farewell and the First Fruits: The Story of the Modern Poet, Archived January 21, 2011, in the Wayback machine. Lay Witness (June 2000). Peter Brazeau, Parts of the World: Wallace Stevens Remembered, New York, Random House, 1983, p. 295 - Letter from James Wm. Chichetto Helen Wendler, September 2, 2009, cited in a footnote to Deathbed Transformation. Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Pages 398-408. B Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Page 405. Thomas Gray. The Wallace Stevens case. Harvard University Press. 1991. Page 86. B with Wendler, Helen. On the Extended Wings, Cambridge: Harvard University Publishing House, 1969, page 13. Charles Altieri. Wallace Stevens and the demands of modernity: to the phenomenology of value. Ithaca : Cornell University Press, 2013. Simon Critchley (2016). Things are simple: Philosophy in the poetry of Wallace Stevens. Routledge Press. I'd like Leonard and Wharton. Free Mundo. University of Georgia Press Office. p. ix-x. - Critchley, pp28-29. Wallace Stevens (Search Results), Poetry Magazine Archive February 3, 2008, at Wayback Machine. a b Old New Haven, Juliet Lapidos, Advocate, March 17, 2005 - Review of Alfred Kraimborg's book Others again in Poetry Magazine: The Journal of Poetry 1915 and Wallace Stevens. The video series Voice and Vision. New York Center for Visual History, 1988. Richardson, The Later Years, supra, p. 378. National Book Award 1951. National Book Foundation. Received 2012-03-02. (With the acceptance of Stevens' speech and Katie Peterson's essay from the awards 60th Anniversary blog.) National Book Award - 1955. National Book Fund. Received 2012-03-02. (With the acceptance of Stevens' speech and Neil Baldwin's related essay from the awards 50-year-old series celebration.) Richardson, Later Years, Supra, 420. Thomas Gray. The Wallace Stevens case. Harvard University Press. 1991. Page 46. Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Pages 239. Stevens, Wallace. Collected Poetry and Prose, New York: Library of America, 1997 (Kermode, F., and Richardson, J., eds.), p. 306. Stevens, Collected Poetry and Prose, Supra, page 106. Stevens, Wallace. Opus Posthumous, London: Faber and Faber, 1990 (Milton Bates, Stevens, Collected Poetry and Prose, Supra, page 41. Stevens, Wallace. Necessary Angel: Essays on Reality and Imagination, Accidental House USA Paperback (February 1965) ISBN 978-0-394-70278-0 - Stevens, Necessary Angel, above. 6. Brazile, Gregory (Autumn 2007). Higher fiction: fiction or fact?. in the journal of Contemporary Literature. 31 (1): 80-100. doi:10.2979/jml.2007.31.1.80. SSRN 1738590. Stevens, Collected Poetry and Prose, Supra, page 47. Miller, Jay Hillies. Wallace Stevens. Poets of Reality: Six Writers of the Twentieth Century, page 226. Cambridge: Harvard UP, 1966. Stevens, Collected Poetry and Prose, Supra, page 423. and b Stevens, Collected Poetry and Prose, Supra, page 444. Southworth, James G. Some Contemporary American Poets, Oxford: Basil Blackwell, 1950, p. 92. Stevens, Collected Poetry and Prose, Supra, page 136-37. Stevens, Collected Poetry and Prose, Supra, 330-31. Miller, above, p. 221 - Wallace Stevens, Collected Poems by Wallace Stevens, p. 342. Milton Bates, Wallace Stevens: Mythology of Yourself (Berkeley: University of California Press, 1986), page 255. Wallace Stevens: Biography and Memories of Acquaintances, Modern American Poetry. B Wallace Stevens. Poetry Foundation Articles - Jarrell, Randall. Reflections on Wallace Stevens. Poetry and epoch. 1953 - Winter, Ivor. Wallace Stevens or the progress of the hedonist. In Defense of reason, 1943. Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Page 177. Hockney, Davis (1976-1977). An old guitarist from a blue guitar. British Council; Fine art. St. Petersburg Press. Archive from the original dated December 15, 2013. Received on June 20, 2012. David Hockney; Stevens, Wallace (January 1, 1977). Blue Guitar: The etchings of David Hockney, which was inspired by Wallace Stevens, which was inspired by Pablo Picasso. St. Petersburg ISBN 978-0902825031. Bollingen Prize for Poetry. Yale University. Received on July 18, 2016. National Book Award - 1951. The Book Fund. Received on July 18, 2016. National Book Award - 1955. National Book Fund. Received on July 18, 2016. Frost medalists. Poetry Society of America. Received on July 18, 2016. Poetry . Received on July 18, 2016. Missing or Empty Title (Help) Excerpt: Selected Poems, December 3, 2009 NPR article about Stevens Further reading Baird, James. Dome and Rock: Structure in Poetry by Wallace Stevens (1968) Bates, Milton J. Wallace Stevens: Mythology of Yourself (1985) Beckett, Lucy. Wallace Stevens (1974) Beller, Michael. T.S. Eliot, Wallace Stevens and The Discourses of Differences (1987) by Benam, Michelle. Wallace Stevens and The Symbolist Imagination (1972) Berger, Charles. Forms of Farewell: The Late Poetry by Wallace Stevens (1985) Beavis, William W. Reason of Winter: Wallace Stevens, Meditation, and Literature (1988) Blessing, by Richard Allen. Wallace Stevens Whole Harmonium (1970) Bloom, Harold. Wallace Stevens: Poems of Our Climate (1980) Bloom, Harold. Figures of a Capable Imagination (1976) Borroff, Marie, ed. Wallace Stevens: A Collection of Critical Essays (1963) by Brazeau, Peter. Parts of the world: Wallace Stevens Remembered (1983) Brogan, Jacqueline V. Violence in/Violence Without: Wallace Stevens and The Appearance of Revolutionary Poetry (2003) Critchley, Simon. Things are simple: Philosophy in Poetry by Wallace Stevens (2005) Carroll, Joseph. The Highest Fiction of Wallace Stevens: A New Romanticism (1987) Doggett, Frank. Stevens Poetry Thoughts (1966) Doggett, Frank. Wallace Stevens: Making a Poem (1980) Doggett, Frank (ed.), Buttel, Robert (ed.). Wallace Stevens: Celebration (1980) Kermode, Frank. Wallace Stevens (1960) Galgano, Andrea. L'armonia segreta di Wallace Stevens, in Mosaico (2013) Gray, Thomas. The Case of Wallace Stevens: The Law and Practice Poetry of Harvard University Press (1991) Ehrenpreis, Irvine (ed.). Wallace Stevens: Critical Anthology (1973) Enk, John J. Wallace Stevens: Images and Judgments (1964) Fillreys, Alan. Modernism from right to left: Wallace Stevens, 30s and literary radicalism (1994) Hines, Thomas J. Later Poetry by Wallace Stevens: Phenomenological parallels with Husserl and Heidegger (1976) Hockney, David. Blue Guitar (1977) Kessler, Edward, Images of Wallace Stevens (1972) Leggett, B.J. Early Stevens: Nietzschean Intertext (1992) Leonard, J.S. and Wharton, C.E. Free Mundo: Wallace Stevens and the Structure of Reality (1988) Faces, A. Walton. Introspective Voyager: Poetic Development by Wallace Stevens (1972) Longenbach, James. Wallace Stevens: A Simple Sense of Things (1991) Mariani, Paul. All Harmony: The Life of Wallace Stevens - April 5, 2016. Macleod, Glen. Wallace Stevens and Contemporary Art: From The Gun Show to Abstract Expressionism (1993) Janet. Wallace Stevens again: Heavenly Possible (1996) Middlebrook, Diane Wood. Walt Whitman and Wallace Stevens (1974) Ragg, Edward. Wallace Stevens and The Aesthetics of Abstraction (2010) Tanaka, Hiroshi. A new attempt by an American poet: Wallace Stevens. In the works on British and American literature and culture: from the perspective of the Trans-Pacific American Study. Ed. Tatsushi Narita. Nagoya: Kugaku Shuppan, 2007. 59–68. Wendler, Helen. On extended wings: Wallace Stevens Long Poems by Harvard University Press (1969) Wendler, Helen. Wallace Stevens: Words chosen from the desire of Harvard University Press (1986) Woodman, Leonora. Stanza My Stone: Wallace Stevens and Hermetic Tradition (1983) External Wikiquote Links has quotes related to: Wallace Stevens Wikisource has original work written or about: Wallace Stevens's work by Wallace Stevens at the Wallace Stevens Open Library in Finding Grave Poems and Profile on PoetryFoundation.org Profile and Poems at the Academy of American Poets Wallace Stevens Society Yale College Lecture on The Stevens Audio Collection of American Literature, a rare book by the Library of American Literature Profile at the Academy of American Poets' Works or about Wallace Stevens's Online Archive of Works by Wallace Stevens in LibriVox (Public Domain Audiobook) PennSound/Woodberry Poetry Room Wallace Stevens Audio Project from the University of Pennsylvania Wallace Stevens Documents in the California Choice Online Archive from Wallace Stevens Letters wallace Stevens on Poetic Extracted from the wallace stevens poetry style. wallace stevens poetry books. wallace stevens poetry themes. wallace stevens poetry philosophy and figurative language. wallace stevens poetry award. wallace stevens poetry analysis. wallace stevens poetry quotes. wallace stevens poetry contest

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