Navigating the Culture Industry in William

Total Page:16

File Type:pdf, Size:1020Kb

Navigating the Culture Industry in William Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Paths of most resistance: navigating the culture industry in William Faulkner, Richard Wright, Delmore Schwartz, and Eudora Welty Jason Dupuy Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Dupuy, Jason, "Paths of most resistance: navigating the culture industry in William Faulkner, Richard Wright, Delmore Schwartz, and Eudora Welty" (2010). LSU Doctoral Dissertations. 2550. https://digitalcommons.lsu.edu/gradschool_dissertations/2550 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PATHS OF MOST RESISTANCE: NAVIGATING THE CULTURE INDUSTRY IN WILLIAM FAULKNER, RICHARD WRIGHT, DELMORE SCHWARTZ, AND EUDORA WELTY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Philosophy In The Department of English by Jason Dupuy B.A., Loyola University New Orleans, 2002 M.A., Louisiana State University, 2006 August 2010 For Melinda. ii Acknowledgements I would first like to thank Rick and Brannon, for their thoughtful guidance and feedback, along with all the other university teachers who have helped me in the past 12 years: Carl, Elsie, Ed, Robert, Brian, Sue, Liz, Kate, Larry, and anyone else I might have forgotten. Also, thanks to James and Casey, who read portions of this dissertation and helped me figure out where it was going. And to my other wonderful friends—Jeremy, Kath, Ben, Robbie, Bobbi, Claire, everyone else. Finally, thanks to my parents, Mike and Nancy Dupuy, who supported me emotionally (and, at times, financially) when I decided to quit my job and go back to school. And, of course, to Melinda, who, as the cliché goes, believed in me when I didn’t. iii Table of Contents DEDICATION. ii ACKNOWLEDGMENTS. iii ABSTRACT. v CHAPTER ONE THE CULTURE INDUSTRY IN CONTEXT. 1 CHAPTER TWO “SUPPOSE I WENT THERE AND FOUND OUT IT WAS NOT SO?”: FAULKNER’S MOURNING AND THE EASY ANSWERS OF THE CULTURE INDUSTRY. 30 CHAPTER THREE “THAT SENSE OF FULLNESS HE HAD SO OFTEN BUT INADEQUATELY FELT IN MAGAZINES AND MOVIES”: RICHARD WRIGHT’S APPROPRIATIONS OF MASS CULTURE . 73 CHAPTER FOUR THE ORACLE AT DELPHI: DELMORE SCHWARTZ AND THE ARTIST’S APPROACH TO THE CULTURE INDUSTRY. 110 CHAPTER FIVE “HER BEETHOVEN”: EUDORA WELTY AND THE POWER OF HUMAN UNDERSTANDING. .143 CONCLUSION. 174 BIBLIOGRAPHY. .181 VITA. 193 iv Abstract This dissertation explores how four modernist writers of the 1930s and 1940s—William Faulkner, Richard Wright, Delmore Schwartz, and Eudora Welty—used their works to present ways to resist and navigate what they present as the frequently reductive worldview offered by the culture industry. Faulkner tends to show the culture industry as selling easy answers that focus on the end result, which allows his characters to approach the culture industry with a sense of fatalism. To resist this, Faulkner stresses a step-by-step, complex dialectical understanding of the culture industry, one that shows the fissures in its seemingly straightforward narratives and allows the reader to see how the narratives of the culture industry are not totalizing and can be resisted. Richard Wright, with his Native Son (1940), has written a better piece of mass culture, one that both gives the reader what he wants and helps show how the pleasures of mass culture are tied to a racist system. More than any of the other writers I’m discussing, Wright courts a wide audience by expertly using the tropes of various popular forms of the late 1930s—movies, crime novels, gothic fiction, newspapers, protest novels—and then adds an extra layer of analysis that explores how these pieces of mass culture are not ideologically neutral. One of the protagonists in a Delmore Schwartz story compares a movie to the Oracle at Delphi, which gave prophesies enigmatic enough to allow differing interpretations. The masses in Schwartz’s stories approach mass culture looking for simple entertainment, and that’s what they get. The conflicted artist figures who are the protagonists of Schwartz’s stories approach mass culture more complexly, and Schwartz shows how an artistically inclined mind can find much of value in mass culture if he knows what to look for. Eudora Welty, finally, shows mass culture as something that can help compound a sense of (frequently female) alienation. For Welty, it is small moments of emotional connection that allow people to find a way out of the totalizing system of mass culture. v Chapter One: The Culture Industry in Context The short story “Golden Land” (1935), the only of William Faulkner’s works to take place in Hollywood, takes a particularly dim view of the culture industry. Its protagonist, Ira Ewing, is a prominent California realtor with a serious drinking problem and a disastrous family life that includes a wife with whom he barely speaks, a cross-dressing son, and a daughter who is in the tabloids for her part in a sex scandal. The morning we first meet Ira, he wakes up hung-over to find a newspaper headline that reads, “APRIL LALEAR BARES ORGY SECRETS” (705). His daughter, known publicly by her stage name, has tried to stage a sex scandal with a prominent Hollywood producer in the hopes of becoming a movie star, though it backfires. Ira was born in Nebraska, and he brought his mother west with him, and the story makes a stark distinction between the honesty of the farm life in Nebraska and the corruption of life in California. As Ira’s mother tells him, “You make money too easy. This whole country is too easy for us Ewings. It may be all right for them that have been born here for generations; I don’t know about that. But not for us” (724).1 As the story sees it, moving to California and its culture industry brings about sexual perversion in the forms of Ira’s son’s cross-dressing and his daughter’s Hollywood sex life, which gives the story the distinct whiff of homophobia and sexism.2 Life in Nebraska, to which his mother wants to return to live out her days, might have been more difficult, but it was also free of such corruption. In relation to much of Faulkner’s body of work, this story is fairly simplistic. It’s the view of mass culture put forth by the Agrarians, who saw farming as a sort of social panacea to the ills brought about by industrialized society. And although Theodor Adorno and Max Horkheimer, developers of the theory of the culture industry, would never present the issue in such a relatively uncomplicated way, they would likely agree with the distrust of Hollywood that informs the story. Indeed, much of our conception of modernism—though it’s a conception that has been 1 deeply challenged and complicated in recent years—is that it stands in opposition to the simplistic repetition of the culture industry. Of course, such a view of modernism would suggest that William Faulkner, the premiere American modernist novelist, would want to show us how vapid and destructive the culture industry could be. It goes without saying that things aren’t nearly that simple. Faulkner might have hated Hollywood—and he especially might have hated his time working there—but he, like most American modernists, understood that the culture industry must be dealt with in a more complex way by anyone who wanted to practice serious art, which makes “Golden Land” a bit of an anomaly in his body of work. The 1930s didn’t see the invention of what we call mass culture or the mass media— movies, newspapers, pulp magazines, radios—but the Depression years saw a multiplication of that mass culture with which many of the significant pre-war American authors were forced to grapple. Many people turned to mass culture as an escape from the crushing realities of Depression-era life. Gary Dean Best calls the thirties the Nickel and Dime Decade and writes, “Technological advances influenced American popular culture during the 1930s to a degree unprecedented even in the previous decade,” and, he continues, “Much of the popular culture of the 1930s was clearly attractive for the means it offered to escape from the guilt, anxieties, stresses, and insecurities of the depression years” (xii). The Great Depression remains, to this date, the greatest period of financial instability in this nation’s history. The decade also saw the rise of fascist governments in Western Europe that threatened, certainly, the world, and, specifically, American-style liberal democracy. Against this backdrop, popular culture might seem an afterthought. But it wasn’t. There was more of it than ever before, and it became increasingly technologically complex. The most significant of these changes was probably the emergence of synchronized sound in film in the late 1920s. Though film had been around since the Lumiere brothers showed their first movie in 1895, the release of The Jazz Singer, starring Al Jolson, in 1927 changed everything, helping films transition from a mostly visual medium to 2 one that was more equally dependent on both vision and sound. Color film followed soon after, giving the still bourgeoning medium more ability to represent reality in a way that it had never before been able to do. Additionally, print media began blossoming substantially in this period.
Recommended publications
  • James Baldwin As a Writer of Short Fiction: an Evaluation
    JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi­ cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction.
    [Show full text]
  • 1 Douglas Kellner [
    Douglas Kellner [http://www.gseis.ucla.edu/faculty/kellner/] T.W. Adorno and the Dialectics of Mass Culture While T.W. Adorno is a lively figure on the contemporary cultural scene, his thought in many ways cuts across the grain of emerging postmodern orthodoxies. Although Adorno anticipated many post-structuralist critiques of the subject, philosophy, and intellectual practice, his work clashes with the postmodern celebration of media culture, attacks on modernism as obsolete and elitist, and the more affirmative attitude toward contemporary culture and society found in many, but not all, postmodern circles. Adorno is thus a highly contradictory figure in the present constellation, anticipating some advanced tendencies of contemporary thought, while standing firming against other regnant intellectual attitudes and positions. In this article, I argue that Adorno's analyses of the functions of mass culture and communications in contemporary societies constitute valuable, albeit controversial, legacies. Adorno excelled both as a critic of so-called "high culture" and "mass culture," while producing many important texts in these areas. His work is distinguished by the close connection between social theory and cultural critique, and by his ability to contextualize culture within social developments, while providing sharp critical analysis. Accordingly, I discuss Adorno's analysis of the dialectics of mass culture, focusing on his critique of popular music, the culture industry, and consumer culture. I argue that Adorno's critique of mass culture is best read and understood in the context of his work with information superhighway. In conclusion, I offer alternative perspectives on mass communication and culture, and some criticisms of Adorno's position.
    [Show full text]
  • Understanding the Value of Arts & Culture | the AHRC Cultural Value
    Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska 2 Understanding the value of arts & culture The AHRC Cultural Value Project Geoffrey Crossick & Patrycja Kaszynska THE AHRC CULTURAL VALUE PROJECT CONTENTS Foreword 3 4. The engaged citizen: civic agency 58 & civic engagement Executive summary 6 Preconditions for political engagement 59 Civic space and civic engagement: three case studies 61 Part 1 Introduction Creative challenge: cultural industries, digging 63 and climate change 1. Rethinking the terms of the cultural 12 Culture, conflict and post-conflict: 66 value debate a double-edged sword? The Cultural Value Project 12 Culture and art: a brief intellectual history 14 5. Communities, Regeneration and Space 71 Cultural policy and the many lives of cultural value 16 Place, identity and public art 71 Beyond dichotomies: the view from 19 Urban regeneration 74 Cultural Value Project awards Creative places, creative quarters 77 Prioritising experience and methodological diversity 21 Community arts 81 Coda: arts, culture and rural communities 83 2. Cross-cutting themes 25 Modes of cultural engagement 25 6. Economy: impact, innovation and ecology 86 Arts and culture in an unequal society 29 The economic benefits of what? 87 Digital transformations 34 Ways of counting 89 Wellbeing and capabilities 37 Agglomeration and attractiveness 91 The innovation economy 92 Part 2 Components of Cultural Value Ecologies of culture 95 3. The reflective individual 42 7. Health, ageing and wellbeing 100 Cultural engagement and the self 43 Therapeutic, clinical and environmental 101 Case study: arts, culture and the criminal 47 interventions justice system Community-based arts and health 104 Cultural engagement and the other 49 Longer-term health benefits and subjective 106 Case study: professional and informal carers 51 wellbeing Culture and international influence 54 Ageing and dementia 108 Two cultures? 110 8.
    [Show full text]
  • S K E N È Journal of Theatre and Drama Studies
    S K E N È Journal of Theatre and Drama Studies 1:1 2015 The Chorus in Drama Edited by Guido Avezzù SKENÈ Journal of Theatre and Drama Studies Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi, Alessandro Serpieri. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Managing Editors Lisanna Calvi, Ivan Valbusa. Copyeditors Christine Chettle, Marco Duranti, Lucia Nigri, Flavia Palma, Carlo Vareschi, Tobia Zanon. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Marco De Marinis, Tobias Döring, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Russ McDonald, Luigina Mortari, Guido Paduano, Franco Perrelli, Didier Plassard. Copyright © 2015 SKENÈ All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://www.skenejournal.it [email protected] Alessandra Calanchi∗ Of Men and Ghosts: Delmore Schwartz’s Re-visitation of the Greek Chorus Abstract Among the many elements of interest we encounter in Delmore Schwartz’s literary production, the re–visitation of the Greek chorus is particularly relevant. Its innov- atory appeal, in fact, never ignores the call of tradition, and is rooted on the main issues of American culture, from immigration and problematic assimilation to the rise of
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Ethnicity, Lyricism, and John Berryman's Dream Songs
    Imaginary Jews and True Confessions: Ethnicity, Lyricism, and John Berryman’s Dream Songs ANDREW GROSS . Jews, who have changed much in the course of history, are certainly no race, [but] the anti‐Semites in a way are a race, because they always use the same slogans, display the same attitudes, indeed almost look alike. —Max Horkheimer1 John Berryman’s “The Imaginary Jew,” published in the Kenyon Review of 1945, is in some ways a rather programmatic account of one man’s conversion from parlor anti‐ Semitism to a feeling of solidarity with Jews. The climax occurs when a bigot accuses the narrator of being Jewish in order to discredit him in an argument over Roosevelt’s foreign policy prior to the American entry into World War II. The accusation completely unnerves the narrator in ways he does not immediately understand, and he is shocked to see that it discredits him in the eyes of the crowd, which has assembled at Union Square to hear impromptu debates. Later, after leaving the scene of his embarrassment, he decides to lay claim to this mistaken, or imaginary, identity, and comes to the following conclusion about the nature of prejudice: “My persecutors were right: I was a Jew. The imaginary Jew I was was as real as the imaginary Jew hunted down, on other nights and days, in a real Jew. Every murderer strikes the mirror, the lash of the torturer falls on the mirror and cuts the real image, and the real and the imaginary blood flow down together.”2 The story garnered some attention when it appeared in 1945.
    [Show full text]
  • How Bigger Was Born Anew
    Fall 2020 29 ow Bier as Born new datation Reuration and Double Consciousness in Nambi E elle’s Native Son Isaiah Matthew Wooden This essay analyzes Nambi E. Kelley’s stage adaptation of Native Son to consider the ways tt Aicn Aeicn is itlie by n constitte to cts o etion t sharpens particular focus on how Kelley reinvigorates Wright’s novel’s searing social and cil cities by ctiely ein te oisin etpo o oble consciosness n iin ne o, enin, n se to te etpo, elleys Native Son extends the debates about “the problem of the color line” that Du Bois’s writing helped engender at te beinnin o te tentiet centy into te tentyst n, in so oin, opens citicl space to reckon with the persistent and pernicious problem of anti-Black racism. ewords adaptation, refguration, double consciousness, Native Son, Nambi E. Kelley This essay takes as a central point of departure the claim that African American drama is vitalized by and, indeed, constituted through acts of refguration. It is such acts that endow the remarkably capacious genre with any sense or semblance of coherence. Retion is notably a word with multiple signifcations. It calls to mind processes of representation and recalculation. It also points to matters of meaning-making and modifcation. The pref re does important work here, suggesting change, alteration, or even improvement. For the purposes of this essay, I use etion to refer to the strategies, practices, methods, and techniques that African American dramatists deploy to transform or give new meaning to certain ideas, concepts, artifacts, and histories, thereby opening up fresh interpretive and defnitional possibilities and, when appropriate, prompting much-needed reckonings.
    [Show full text]
  • The Culture Industry As Mass Deception Revisited
    XULAneXUS Volume 9 | Issue 1 Article 8 12-1-2011 The rF ankfurt School and the Problem with Popular Culture: The ulturC e Industry as Mass Deception Revisited Nelantha K. Riley Follow this and additional works at: https://digitalcommons.xula.edu/xulanexus Recommended Citation Riley, Nelantha K. (2011) "The rF ankfurt School and the Problem with Popular Culture: The ulturC e Industry as Mass Deception Revisited," XULAneXUS: Vol. 9 : Iss. 1 , Article 8. Available at: https://digitalcommons.xula.edu/xulanexus/vol9/iss1/8 This Article is brought to you for free and open access by XULA Digital Commons. It has been accepted for inclusion in XULAneXUS by an authorized editor of XULA Digital Commons. For more information, please contact [email protected]. Riley: The Frankfurt School and the Problem with Popular Culture: The Cu ! Volume 9, Issue 1, December 2011. Scholarly Note. 9-18. ! <http://xulanexus.xula.edu/textpattern/index.php?id=121> ! The Frankfurt School and the Problem with Popular Culture: The Culture Industry as Mass Deception Revisited Nelanhta K. Riley, Psychology Faculty Mentor: Dr. Christopher Faircloth, Sociology Abstract The turn to the 21st century and the technological advances that came with it have made the culture industry a force to be reckoned with, but at the same time changing the dynamics of the marketing Nelanhta Riley is a Psychology arena. Now more than ever, the Internet has become a marketing major with a minor in Sociology entity in its own right. The varying industries of culture are no from New Orleans, LA. Upon longer the gatekeepers of public opinion and product critique.
    [Show full text]
  • Open Shalkey Honors Thesis.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH THE CONFESSIONAL POETS: REMOVING THE MASK OF IMPERSONALITY WITH ALL THE SKILLS OF THE MODERNISTS VANESSA SHALKEY Spring 2012 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in English and International Politics with honors in English Reviewed and approved* by the following: John Marsh Assistant Professor of English Thesis Supervisor Lisa Sternlieb English Honors Advisor Honors Advisor Christopher Castiglia Liberal Arts Research Professor of English CALS Senior Scholar in Residence Second Reader *Signatures are on file in the Schreyer Honors College. !! ABSTRACT The pioneers of the frontier of new art forms have always made themselves vulnerable to the criticism of the previous generation; however, this criticism often overshadows and undermines the true success of these bold artists. The confessional poets were some of these trailblazers who took American poetry into areas untouched by previous generations and were criticized for breaking with the traditional methods of past poets--especially the modernists. Poets like Robert Lowell and John Berryman used their life events as subject matter for their poetry, which the New Critics thought was bad form. This controversial shift in style won these poets the name “confessional,” a title that many of the poets to whom it refers found disparaging. The label “confessional” gives the impression that these poets did little more than use their poems as diary entries, when in fact they wrote magnificent poetry with the same talent and technical skills that the modernist poets displayed. This thesis is an examination of the confessional poets’ use of effective poetic devices favored by the modernist poets to analyze whether or not the act of removing the mask of impersonality negatively impacted the ability of the confessional poets to develop complex themes and transmute feelings to the reader.
    [Show full text]
  • Introduction
    Notes Introduction 1. Delmore Schwartz, Last & Lost Poems, ed. Robert Phillips (New York: Vanguard Press, 1979), 4. The poem is dated 1954, but it gathers preoccupations from over a decade earlier. 2. Walt Whitman, “Preface 1855—Leaves of Grass, First Edition,” in Leaves of Grass and Other Writings, ed. Michael Moon (New York: W. W. Norton, 2002), 616. 3. James Atlas, Delmore Schwartz: The Life of an American Poet (New York: Farrar, Straus and Giroux, 1976). The rock star Lou Reed, a former student, dedicated the song “European Son,” on the album The Velvet Underground & Nico, to Schwartz. 4. Delmore Schwartz, Genesis (New York: New Directions, 1943), 5. 5. Delmore Schwartz, “America! America!” in In Dreams Begin Responsibilities and Other Stories, 20. 6. Delmore Schwartz, “The Fiction of Ernest Hemingway: Moral Historian of the American Dream” (1955), in Selected Essays of Delmore Schwartz, 271. 7. Schwartz, “The Fiction of Ernest Hemingway,” 272. 8. Howe, “Foreword to Atlas, ed.,” in In Dreams Begin Responsibilities, and Other Stories, vii; Alfred Kazin, New York Jew (London: Secker and Warburg, 1978), 25. 9. Cited in DS & JL Letters, 47. 10. Atlas, Delmore Schwartz, 154. Eliot regretted that he was unable to bring out a British edition of Schwartz’s poems. 11. Atlas, Delmore Schwartz, 129. Wallace Stevens, Letters of Wallace Stevens, ed. Holly Stevens (New York: Knopf, 1981), December 27, 1940, 382. 12. John Berryman, The Dream Songs (London: Faber, 1990) (149), 168. 13. Delmore Schwartz, “Views of a Second Violinist” (1949), in Selected Essays of Delmore Schwartz, 25. 14. He was also film editor of The New Republic between 1955 and 1957.
    [Show full text]
  • Simply Folk Sing-Along 2018 If I Had a Hammer If I Had a Hammer, I'd Hammer in the Morning, I'd Hammer in the Evening, All Over
    Simply Folk Sing-Along 2018 If I Had a Hammer If I had a hammer, I'd hammer in the morning, I'd hammer in the evening, all over this land I'd hammer out danger, I'd hammer out a warning I'd hammer out love between my brothers and my sisters, all over this land If I had a bell, I'd ring it in the morning, I'd ring it in the evening, all over this land I'd ring out danger, I'd ring out a warning I'd ring out love between my brothers and my sisters, all over this land If I had a song, I'd sing it in the morning, I'd sing it in the evening, all over this land I'd sing out danger, I'd sing out a warning I'd sing out love between my brothers and my sisters, all over this land Well I've got a hammer, and I've got a bell, and I've got a song to sing, all over this land It's the hammer of justice, it's the bell of freedom It's the song about love between my brothers and my sisters, all over this land You Are My Sunshine The other night dear as I lay sleeping, I dreamed I held you in my arms, But when I woke dear I was mistaken, and I hung my head and I cried You are my sunshine, my only sunshine, you make me happy when skies are gray, You'll never know dear, how much I love you, please don't take my sunshine away I'll always love you and make you happy, if you will only say the same, But if you leave me and love another, you’ll regret it all someday You told me once dear, you really loved me, and no one could come between, But now you've left me to love another, you have shattered all of my dreams In all my dreams, dear, you seem to leave me; when I awake my poor heart pains So won’t you come back and make me happy, I’ll forgive, dear, I’ll take all the blame City of New Orleans Riding on the City of New Orleans, Illinois Central Monday morning rail Fifteen cars and fifteen restless riders, three conductors and twenty-five sacks of mail.
    [Show full text]
  • For Immediate Release Second Night of 2017 Creative Arts
    FOR IMMEDIATE RELEASE SECOND NIGHT OF 2017 CREATIVE ARTS EMMY® WINNERS ANNOUNCED (Los Angeles, Calif. – September 10, 2017) The Television Academy tonight presented the second of its two 2017 Creative Arts Emmy® Awards Ceremonies honoring outstanding artistic and technical achievement in television at the Microsoft Theater in Los Angeles. The ceremony honored performers, artists and craftspeople for excellence in scripted programming including comedy, drama and limited series. Executive produced by Bob Bain, the Creative Arts Emmy Awards featured presenters from the season’s most popular show including Hank Azaria (Brockmire and Ray Donovan), Angela Bassett (911 and Black Panther), Alexis Bledel (The Handmaid’s Tale), Laverne Cox (Orange Is the New Black), Joseph Gordon-Levitt (Are You There Democracy? It's Me, The Internet) and Tom Hanks (Saturday Night Live). Press Contacts: Stephanie Goodell breakwhitelight (for the Television Academy) [email protected], (818) 462-1150 Laura Puig breakwhitelight (for the Television Academy) [email protected], (956) 235-8723 For more information please visit emmys.com. TELEVISION ACADEMY 2017 CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 3 16 19 Netflix 1 15 16 NBC - 9 9 ABC 2 5 7 FOX 1 4 5 Hulu - 5 5 Adult Swim - 4 4 CBS 2 2 4 FX Networks - 4 4 A&E 1 2 3 VH1 - 3 3 Amazon - 2 2 BBC America 1 1 2 ESPN - 2 2 National Geographic 1 1 2 AMC 1 - 1 Cartoon Network 1 - 1 CNN 1 - 1 Comedy Central 1 - 1 Disney XD - 1 1 Samsung / Oculus 1 - 1 Showtime - 1 1 TBS - 1 1 Viceland 1 - 1 Vimeo - 1 1 A complete list of all awards presented tonight is attached.
    [Show full text]