Wallace Stevens Poetry Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Wallace Stevens Poetry Pdf 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.
Recommended publications
  • The Hank Center for the Catholic Intellectual Heritage
    The Hank Center for the Catholic Intellectual Heritage October 2016 From the Desk of Fr. Mark Bosco, S.J. Dear Colleagues and Friends, This semester the Hank Center inaugurates a faculty seminar called All Things Ignatian: Catholic Intellectual Life and the Common Good. The purpose of this nine- course seminar is to engage our faculty more deeply in the interplay of faith, reason, and justice in light of the rich heritage of Catholic social thought. Led by fellow faculty who have shared commitments in studying the Jesuit tradition and the Catholic intellectual mission of the university, the seminar covers such issues as the history of Ignatius of Loyola and the Society of Jesus, Ignatian humanism, the relationship between Catholic faith and the arts and sciences, and issues of social and environmental justice. We hope this seminar enlivens our faculty to see their own contributions to this 450-year history of Jesuit higher education. Invitations for faculty to join the next seminar in the spring will be coming out shortly. The Hank Center moves in a decidedly literary direction with two exciting events this month. On October 12, the poet, critic, and biographer, Paul Mariani, joins us to teach a graduate seminar on the Jesuit poet Gerard Manley Hopkins, and offer a public lecture on the American poet Wallace Stevens. Mariani's new biography, The Whole Harmonium: The Life of Wallace Stevens (2016), has won great acclaim. And on October 20, Phil Klay, the Jesuit-educated war veteran and award-winning author of short stories, Redeployment (2015), offers his perspective on religious faith and modern warfare.
    [Show full text]
  • Wordplay in William Carlos Williams's Poetry
    Connotations Vol. 14.1-3 (2004/2005) “These things astonish me beyond words”: Wordplay in William Carlos Williams’s Poetry MARGIT PETERFY —and I? […] whistle a contrapuntal melody to my own fugue!1 A poem is a capsule where we wrap up our punishable secrets.2 Wordplay, in terms of its reception, may be immediately obvious (because the reader expects it, or because it is clearly foregrounded as such in the text), or it may show its iridescent nature only on reread- ing, maybe with the help of additional information, in a moment of revelation. This revelation of something that is unsuspected qualifies in turn as a surprise. Unlike surprises in the real world, textual sur- prises are almost always pleasant, in that they tend to provoke an immediate, refreshing, almost somatic reaction; a moment of exhilara- tion, of discovery. So, when William Carlos Williams died in 1963, Denise Levertov wrote approvingly of his poetry: “One is forever coming across something new on pages one thought one had known long since.”3 Critical understanding of Williams’s work has explored many insightful directions since then, but there is still something new to come across. Although especially the early popular image of Wil- liams as a poet of ingenuous simplicity has been modified in recent decades,4 his recurring and systematic use of intricate and multivocal signification in the form of wordplay, mostly in puns, has, to my knowledge, not been documented so far.5 There seem to be three main reasons for critical insensitivity to puns and other kinds of wordplay in Williams’s work: (1) the suspicion that puns are, at best, a form of silly jokes, and, at worst, narcissistic, im- mature fabrications and vehicles of “pseudo-logic”;6 (2) the persistent notion of Williams as a poet whose passion is of the blood, not of the _______________ For debates inspired by this article, please check the Connotations website at <http://www.connotations.de/debpeterfy01413.htm>.
    [Show full text]
  • Writing Communities: Aesthetics, Politics, and Late Modernist Literary Consolidation
    WRITING COMMUNITIES: AESTHETICS, POLITICS, AND LATE MODERNIST LITERARY CONSOLIDATION by Elspeth Egerton Healey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2008 Doctoral Committee: Associate Professor John A. Whittier-Ferguson, Chair Associate Professor Kali A. K. Israel Associate Professor Joshua L. Miller Assistant Professor Andrea Patricia Zemgulys © Elspeth Egerton Healey _____________________________________________________________________________ 2008 Acknowledgements I have been incredibly fortunate throughout my graduate career to work closely with the amazing faculty of the University of Michigan Department of English. I am grateful to Marjorie Levinson, Martha Vicinus, and George Bornstein for their inspiring courses and probing questions, all of which were integral in setting this project in motion. The members of my dissertation committee have been phenomenal in their willingness to give of their time and advice. Kali Israel’s expertise in the constructed representations of (auto)biographical genres has proven an invaluable asset, as has her enthusiasm and her historian’s eye for detail. Beginning with her early mentorship in the Modernisms Reading Group, Andrea Zemgulys has offered a compelling model of both nuanced scholarship and intellectual generosity. Joshua Miller’s amazing ability to extract the radiant gist from still inchoate thought has meant that I always left our meetings with a renewed sense of purpose. I owe the greatest debt of gratitude to my dissertation chair, John Whittier-Ferguson. His incisive readings, astute guidance, and ready laugh have helped to sustain this project from beginning to end. The life of a graduate student can sometimes be measured by bowls of ramen noodles and hours of grading.
    [Show full text]
  • Catholic Imagination Conference Program
    Connecting, Researching, Communicating THE THIRD BIENNIAL The Joan and Bill Hank Center CATHOLIC IMAGINATION CONFERENCE Cfor the Catholic CIH Intellectual Heritage THE FUTURE OF THE CATHOLIC LITERARY TRADITION www.luc.edu/ccih/ Loyola University Chicago | September 19-21, 2019 FALL 2019 LAKE SHORE CAMPUS CAMPION HALL WEST LOYOLA AVENUE CROWN MERTZ SeanSean Earl Earl Field Field CENTER HALL Alfie Norville Practice Facility CUDAHY CTA NORVILLE LIBRARY RED LINE GENTILE ATHLETICS LOYOLA ARENA CENTER STATION DAMEN DUMBACH STUDENT HALL CENTER LOYOLA INFORMATION COMMONS Entrance to Fordham parking East Quad CUDAHY HALAS SCIENCE HALL SPORTS MADONNA DELLA FORDHAM West CENTER STRADA CHAPEL HALL Quad P UNIVERSITY BOOKSTORE NORTH SHERIDAN ROAD NORTH SHERIDAN GRANADA CUNEO CENTER HALL CAMPUS SAFETY OFFICE COFFEY HALL P MUNDELEIN QUINLAN LIFE CENTER SCIENCES SHUTTLE PIPER CENTER HALL STOP FLANNER HALL WELCOME CENTER DEVON AVENUE WEST SHERIDAN ROAD RALPH BVM HALL ARNOLD SULLIVAN FINE ARTS DE NOBILI CENTER FOR ANNEX HALL STUDENT SERVICES REGIS INSTITUTE OF HALL SIMPSON ENVIRONMENTAL LIVING- SUSTAINABILITY LEARNING CENTER NORTH SHERIDAN ROAD NORTH SHERIDAN NORTH KENMORE AVENUE NORTH WINTHROP AVENUE NORTH BROADWAY STREET NORTH BROADWAY ALUMNI HOUSE 1 Welcome Conference Attendees: A warm welcome to the Third Biennial Catholic Imagination Conference. In 2015, we inaugurated this unique conference in lovely Los Angeles; in 2017, we assembled in beautiful New York City for an inspired second iter- ation; today, we bring the conference to sweet home Chicago—the city of Big Shoulders, quick wit, and a robust Catholic culture. Our conference features over 80 writers, poets, filmmakers, playwrights, journalists, editors, publishers, stu- dents, and critics who will explore a variety of questions surrounding the Catholic imagination in literature and the arts.
    [Show full text]
  • The Personal Poetics of Robert Lowell and Allen Ginsberg
    MCNEES, MATTHEW J., Ph.D. Suffering and Liberation: The Personal Poetics of Robert Lowell and Allen Ginsberg. (2011) Directed by Drs. Keith Cushman and Anthony Cuda. 174 pp. This dissertation examines Robert Lowell and Allen Ginsberg’s personal poetry. While both poets attend to the random details of daily life, thereby establishing common ground as autobiographical writers, they differ markedly in their perspectives about the value of those details. Lowell possesses a stark, often nihilistic view, attesting to the irredeemable suffering of humanity; Ginsberg ascribes to a self-confident, sometimes larger-than-life persona, believing that complete freedom from fear is possible for everyone. My approach is roughly chronological, beginning when both poets committed themselves to personal, autobiographical poetry during the 1950s. The temporal frame of the study, with a few exceptions, spans from the early 1950s through the l970s. I give due attention to each poet’s “breakthrough” work in the 1950s--like Ginsberg’s Howl and Lowell’s Life Studies--but I also place both poets on a larger continuum that began before they wrote their breakthrough works and lasted beyond their initial success. I explain Lowell and Ginsberg’s place in the broader literary history of the modern poets that immediately preceded them. Each found the tenets of modern poetry limiting to his personal approach and found it necessary to resuscitate the value of individual, personal subjectivity, something that countered the prevailing notions of objective poetry as put forth most notably by T. S. Eliot. Lowell’s commitment to personal poetry came after he had already established his reputation in the 1940s, so his break into personal poetry was highly self-conscious; Ginsberg committed to it early and he never wavered in his approach.
    [Show full text]
  • THE CATHOLIC UNIVERSITY of AMERICA American Poetry at Mid
    THE CATHOLIC UNIVERSITY OF AMERICA American Poetry at Mid-Century: Warren, Jarrell, and Lowell A DISSERTATION Submitted to the Faculty of the Department of English School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Joan Romano Shifflett Washington, D.C. 2013 American Poetry at Mid-Century: Warren, Jarrell, and Lowell Joan Romano Shifflett, Ph.D. Director: Ernest Suarez, Ph.D. This dissertation explores the artistic and personal connections between three writers who helped change American poetry: Robert Penn Warren, Randall Jarrell, and Robert Lowell. All three poets maintained a close working relationship throughout their careers, particularly as they experimented with looser poetic forms and more personal poetry in the fifties and after. Various studies have explored their careers within sundry contexts, but no sustained examination of their relationships with one another exists. In focusing on literary history and aesthetics, this study develops an historical narrative that includes close-readings of primary texts within a variety of contexts. Established views of formalism, high modernism, and the New Criticism are interwoven into the study as tools for examining poetic structure within selected poems. Contexts concerning current criticism on these authors are also interlaced throughout the study and discussed in relation to particular historical and aesthetic issues. Having closely scrutinized the personal exchanges and creative output of all three poets, this study illuminates the significance of these writers’ relationships to American poetry at mid- century and beyond. Though the more experimental schools of poetry would not reach their height until the 1950s, by the 1940s Warren, Jarrell, and Lowell were already searching for a new aesthetic.
    [Show full text]
  • The Mystery of It All Paul Mariani
    Praise for THE MYSTERY OF IT ALL “To read the never prosaic, always poetic, prose of Paul Mariani’s The Mystery of It All is to feel called to action and then guided by a voice at once both lovingly personal and yet passionately prophetic, the voice of not just an intellectual but also a spiritual father. Readers, writers, teachers, and editors of literature informed by the Catholic intellectual tradition will find some of the most beautiful passages from centuries of great works of literature—that Mariani reminds us have become ‘fragments shored against . ruins’ and wants us to ‘piece together’ into ‘a complex, exciting, reworked, and re-vivifying mosaic,’ remembering to preserve ‘that sense of awe and wonder’ in the presence of the ‘incomprehensible certainty’ of the Mystery that ‘continues to beckon and burn.’” —MARY ANN B. MILLER, professor of English, Caldwell University; founding editor, Presence: A Journal of Catholic Poetry “A profound tour de force, combining the passions of a great and generous literary mind with the self-interrogations of a pilgrim. I have long admired Paul Mariani’s extraordinary ability to engage and empathetically enter the interior lives of the poets he studies; his accomplishment and capacious scope is exemplary of what we have come to call the Catholic imagination, an imagination that demonstrates how each substantive voice serves to continue and to enhance the essential utterances of many.” —SCOTT CAIRNS, author of Slow Pilgrim: The Collected Poems and Anaphora: New Poems “Acclaimed as a biographer and poet, Paul Mariani is also revered as an exciting, learned, passionate teacher.
    [Show full text]
  • Paul Mariani
    the boisi center interviews no. 28: November 19, 2008 paul mariani is a professor of English at Boston College and the author of such literary biog- raphies as Gerard Manley Hopkins: A Life (2008) and The Broken Tower: The Life of Hart Crane (1999). He spoke with Boisi Center associate director Erik Owens before his presentation on writing biography at the Boisi Center. owens: So, one of the things that has For a time in the 1940s, Lowell was a At least four of the poets I’ve written struck me about the subjects of your convert and then had—after his di- about did suffer from manic depression, biographies in the past—William Carlos vorce—left the church, and a kind of exis- or what we call now a bipolar disorder. I Williams, Hart Crane, Robert Lowell, tential nihilism came to take its place, so wonder how many people, though, don’t Hopkins and Berryman – is that most, that his vision of the world and of the self experience some kind of deep depres- if not all of them, suffered from depres- got darker and darker. Poetry served as sion in their lives. I think we all, at some sion of some sort. Is that a poetic license point, experience a sense of major loss, of sorts? Is that an affliction that poets etc. And there are points where we feel deal with more than other people? In ebullient, too. I’m not saying that that’s your biographical work, how do you see clinical manic depression, but at least the relationship between depression and we understand something of what those creativity? states are.
    [Show full text]
  • THE MYSTERY and the MAJESTY of IT Jesuit Spirituality in the Poetry of Gerard Manley Hopkins
    7KH0\VWHU\DQGWKH0DMHVW\RI,W Jesuit Spirituality in the Poetry of Gerard Manley Hopkins 3$8/0$5,$1, 6800(5 7+(6(0,1$521-(68,763,5,78$/,7< The Seminar is composed of a number of Jesuits appointed from their prov- inces in the United States. The Seminar studies topics pertaining to the spiritual doctrine and practice of Jesuits, especially American Jesuits, and gathers current scholarly stud- ies pertaining to the history and ministries of Jesuits throughout the world. It then disseminates the results through this journal. The issues treated may be common also to Jesuits of other regions, other priests, religious, and laity. Hence, the studies, while meant especially for $PHULFDQ-HVXLWVDUHQRWH[FOXVLYHO\IRUWKHP2WKHUVZKRPD\ÀQGWKHP helpful are cordially welcome to read them at: [email protected]/jesuits . &855(170(0%(562)7+(6(0,1$5 Richard A. Blake, S.J., is chair of the Seminar and editor of STUDIES; he teach- HVÀOPVWXGLHVDW%RVWRQ&ROOHJH&KHVWQXW+LOO0DVV *X\&RQVROPDJQR6-LVSUHVLGHQWRIWKH9DWLFDQ2EVHUYDWRU\)RXQGDWLRQ LQ7XFVRQ$UL] Barton T. Geger, S.J., is rector of the Jesuit communities of St. Ignatius /R\RODSDULVKDQG5HJLV8QLYHUVLW\LQ'HQYHU&ROR 0LFKDHO +DUWHU 6- LV DVVLVWDQW GLUHFWRU RI WKH 8QLWHG 6WDWHV WHUWLDQVKLS SURJUDPLQ3RUWODQG2UH *UHJRU\$.DOVFKHXU6-LVLQWHULPGHDQRIWKH0RUULVVH\&ROOHJHDQG *UDGXDWH6FKRRORI$UWVDQG6FLHQFHVDW%RVWRQ&ROOHJH&KHVWQXW+LOO 0DVV *DVSHU)/R%LRQGR6-LV3URPRWHURI,JQDWLDQ,GHQWLW\DQGVXSHULRURIWKH FRPPXQLW\DW*RQ]DJD+LJK6FKRRO:DVKLQJWRQ'& William O’Neill, S.J. teaches social ethics at the Jesuit School of Theology at 6DQWD&ODUD8QLYHUVLW\6DQWD&ODUD&DO -RKQ56DFKV6-WHDFKHVWKHRORJ\DWWKH6FKRRORI7KHRORJ\DQG0LQLVWU\ DW%RVWRQ&ROOHJH&KHVWQXW+LOO0DVV The opinions expressed in STUDIES are those of the individual authors.
    [Show full text]
  • The Literary Criticism of Randall Jarrell
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in "sectioning" the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • American Poets Laureate, 1945-2015
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 State Verse Culture: American Poets Laureate, 1945-2015 Amy Paeth University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the American Studies Commons, and the English Language and Literature Commons Recommended Citation Paeth, Amy, "State Verse Culture: American Poets Laureate, 1945-2015" (2015). Publicly Accessible Penn Dissertations. 1928. https://repository.upenn.edu/edissertations/1928 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1928 For more information, please contact [email protected]. State Verse Culture: American Poets Laureate, 1945-2015 Abstract This dissertation argues that the state is the silent center of poetic production in the United States after WWII. “State Verse Culture” is the first history of the national poet, the Poet Laureate Consultant to the Library of Congress, whose office sits at the nexus of institutional actors of postwar poetry. Drawing on archival research at the Library of Congress and the John F. Kennedy Presidential Library, it traces the collusion of 1) federal bodies (The Library of Congress, The State Department, National Endowment for the Arts) with 2) literary-professional organizations (Poetry Society of America, Poetry magazine/The Poetry Foundation) and 3) private patrons (Paul Mellon, Ruth Lilly). The cooperation of public and private interests is crucial to the development of what I call state verse culture—recognizable at the first National Poetry Festival in 1962, and dominant following the end of the Cold War in the 1990s-2000s. Chapter 1, “State Verse Scandals: Views from Yaddo, St Elizabeths, and the Library of Congress, 1945-1956” narrates the Bollingen Prize controversy of 1949 and the arbitration of literary capital between the Library, Poetry magazine and the university system.
    [Show full text]
  • Wallace Stevens: Hartford's Private Poet
    Wallace Stevens: Hartford's Private Poet When Wallace Stevens moved to Hartford from New York in 1916 to work in the insurance business, he was well-known in poetry circles but not yet acclaimed as one of the greatest poets of the 20th century. He had been married for seven years to a woman his family thought beneath him; they didn't attend the wedding. Elsie Kachel had been a milliner and a stenographer, and she posed as the model for the design of the Winged Liberty Head dime, which the U.S. minted from 1916 to 1945. Stevens had cut off ties with his parents. And, outside of poetry and his work at the Hartford Accident and Indemnity Co., he also seemed to cut ties with the world. He didn't appear to care at all about the lack of attention from the press and often went out of his way to avoid it. Poetry: A Magazine of Verse awarded Stevens its most important prize for a group of poems in 1920, three years before his first book, "Harmonium," was published when he was 44 — but the honor went unnoticed in Hartford. Elsie does pop up in The Hartford Courant in 1920 as Mrs. Wallace Stevens, but only among a list of people who were assisting the chairman of the Hartford Musical Club — which was postponing its meeting. When The Dial magazine asked Stevens for a biographical sketch to accompany several poems that were to be published in 1922, he begged off: "Do, please, excuse me from the biographical note.
    [Show full text]