DOCSLIB.ORG

Spring 2009 Number 1 Special Issue a Publication of the Wallace Stevens Society, Inc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spring 2009 Number 1 Special Issue a Publication of the Wallace Stevens Society, Inc The Wallace Stevens Journal “The Less Legible Meanings of Sounds” The Wallace The Wallace Stevens Journal Vol. 33 No. 1 Spring 2009 Vol. Special Issue Wallace Stevens and “The Less Legible Meanings of Sounds” A Publication of The Wallace Stevens Society, Inc. Volume 33 Number 1 Spring 2009 The Wallace Stevens Journal Volume 33 Number 1 Spring 2009 Special Issue Wallace Stevens and “The Less Legible Meanings of Sounds” Edited by Natalie Gerber Contents Introduction —Natalie Gerber 3 Sound at an Impasse —Alan Filreis 15 Sound and Sensuous Awakening in Harmonium —Beverly Maeder 24 The Sound of the Queen’s Seemings in “Description Without Place” —Alison Rieke 44 The “Final Finding of the Ear”: Wallace Stevens’ Modernist Soundscapes —Peter Middleton 61 Weather, Sound Technology, and Space in Wallace Stevens —Sam Halliday 83 Wallace Stevens and the Spoken Word —Tyler Hoffman 97 Musical Transformations: Wallace Stevens and Paul Valéry —Lisa Goldfarb 111 Poems 129 Reviews 133 Current Bibliography 139 Cover Karhryn Jacobi The Tink-tonk of the Rain from “An Ordinary Evening in New Haven,” XIV The Wallace Stevens Journal EDITOR John N. Serio POETRY EDITOR ART EDITOR BOOK REVIEW EDITOR Joseph Duemer Kathryn Jacobi George S. Lensing EDITORI A L ASSIST A NTS EDITORI A L BO A RD William H. Duryea Milton J. Bates George S. Lensing Maureen Kravec Jacqueline V. Brogan James Longenbach Hope Steele Robert Buttel Glen MacLeod Eleanor Cook Marjorie Perloff TECHNIC A L ASSIST A NT Bart Eeckhout Joan Richardson Jeff Rhoades Alan Filreis Melita Schaum B. J. Leggett Lisa M. Steinman The Wallace Stevens Society, Inc. PRESIDENT ADVISORY BO A RD John N. Serio Milton J. Bates Owen E. Brady Robert Buttel David M. Craig Joseph Duemer Kathryn Jacobi George S. Lensing Glen MacLeod The Wallace Stevens Journal is published in Spring and Fall by the Wallace Stevens Society, Inc. Editorial offices are located at Clarkson University, 8 Clarkson Avenue, Potsdam, NY 13699. P 315.268.3987; F 315.268.3983; E [email protected]; W wallacestevens.com. The subscription rate for individuals, both domestic and foreign, is $30 for one year or $50 for two years and includes membership in the Wallace Stevens Society. Rates for institutions are $40 per year domestic and $50 per year foreign. Back issues are available. Also available are volumes 1–25 on a text-searchable, PC/Mac compatible CD. Manuscripts, subscriptions, and advertising should be addressed to the editor. Manu- scripts should be in Works Cited format and may be submitted as attached document files. Authors of accepted manuscripts should furnish photocopies of all secondary quotations. The Wallace Stevens Journal is indexed or abstracted in Abstracts of English Studies, Hu- manities International Complete, Arts & Humanities Citation Index, Current Contents, IBR (International Bibliography of Book Reviews), IBZ (International Bibliography of Periodical Literature), MHRA Annual Bibliography, MLA International Bibliography, ProQuest, Scopus (Elsevier), and Year’s Work in English Studies. This journal is a member of the Council of Editors of Learned Journals. © 2009 The Wallace Stevens Society, Inc. ISSN 0148-7132 Introduction NATALIE GERBER The less legible meanings of sounds, the little reds Not often realized, the lighter words In the heavy drum of speech, the inner men Behind the outer shields, the sheets of music In the strokes of thunder, dead candles at the window When day comes, fire-foams in the motions of the sea, Flickings from finikin to fine finikin And the general fidget from busts of Constantine To photographs of the late president, Mr. Blank, These are the edgings and inching of final form, The swarming activities of the formulae Of statement, directly and indirectly getting at. —Wallace Stevens I N 1991, JACQUELINE V. BROGAN edited the special Wallace Stevens Journal issue Structures of Sound in Stevens, which first collected at- Itention to the use of sound in Wallace Stevens’ verse. The author of the thoughtful study Stevens and Simile: A Theory of Language (1986), Bro- gan had gathered fine essays that took an admirable range of approaches. Historically and theoretically grounded studies drawing on subjects as diverse as classical verse, foreign etymologies, theories of repetition, and prosodic history were included without neglecting the important testi- mony of Stevens’ influence upon contemporary poets—both their practice and their lifelong reading of Stevens. The mere appearance of the issue was cause for rejoicing to scholars of Stevens and of poetics sensitive to the materiality of language and its centrality in Stevens’ poetry. Brogan’s careful editorial efforts had accomplished even more than might be apparent. For this journal issue signally diverged from a deep- ly entrenched tradition of Stevens criticism that had veered away from THE WALLACE STEVENS JOURNAL 33.1 (SPRING 2009): 3–14. 3 © 2009 THE WALLACE STEVENS SOCIETY, INC. sound for all the professionally and socially fraught reasons that Alan Fil- reis lists in his essay in this 2009 volume: “(1) fear of mannerist reputa- tion; (2) guilt by association with the non-innovative; (3) Hi Simons; (4) Stevens’ dull-seeming poetry readings; (5) a lagging interest among crit- ics in sound technology; (6) a certain deafness in the project of disclosing Stevens’s politics” (15). Beyond all these customary causes for resistance lie even more serious obstacles. As the venerable Helen Vendler had com- mented in her acclaimed study of Stevens’ longer poems, On Extended Wings (1969), “[S]ince criticism has yet to find a way of making notes on cadence, rhythms, and sounds both reliable and readable, I resort to only occasional remarks on these subjects” (9–10). Marjorie Perloff quoted Vendler’s com- ment in her 1982 essay “Pound/Stevens: Whose Era?” as emblematic of the persistent yet puzzling situation that, “in marked contrast” to criticism on Ezra Pound, rarely do the best in Stevens studies deal with his “prosodic innovations” (497). These two instances alone could have occasioned the rousing call by Eleanor Cook in her introduction to the 1991 issue to attend to the “technical,” which includes the central role of sound, in Stevens: “It seems especially important at this moment of our critical lives to under- stand that word ‘technical’ in its fullest sense, to be as fully responsible to its demands as any good artist is. Otherwise we lose the life of forms, and thereby something of ourselves” (124). Today, Brogan’s 1991 volume remains invaluable for pointing to impor- tant sound patterns and phenomena in Stevens—those that once appeared in criticism erratically, but now are central topics when we talk about sound in Stevens. These include his use of natural and animal sounds, his irruptive delight in the sound(s) of words themselves, his use of nonsense words and syllables, and his fascination with non-referential aspects of words (e.g., their etymologies and their derivations from foreign cognates with distinctive phonological structures). They also include the distinctive sounds of the poems themselves, characterized as they are by Stevens’ in- sistent repetition and variation of lexical materials. The sounds of the early poems are characterized by his explosive play with phonological pattern- ings such as phonemes and syllables, while the late poems are character- ized more by the repetition, anaphora, and modulation of words, phrases, and propositions that mimic or simulate the content of a mind sorting itself out, or a will testing out different stances toward reality. In retrospect, we might see the 1991 special issue as also being in the vanguard of a renewed interest in sound in Stevens. The well had not, per se, run dry in the 1980s, but general prosodic and sonic issues had fallen prey to charges of mere aestheticism and to assumptions that for- malism was somehow immune to (or outside of) the concerns with social and political history that dominated the era; and thus efforts in the area of sound were limited, or at least perceived as such. Given the currency of the academic marketplace, even lauded studies of sound in poetry— such as Marie Borroff’s and Eleanor Cook’s extraordinary work on sound 4 THE wallace STEVENS JOURNAL symbolism and wordplay in Stevens—were unlikely or unable to spur a sustained critical trend. For whatever reason, the period since then has proven more receptive to attention to prosodic and sonic innovations in verse. The Structures of Sound in Stevens was followed over the next five to ten years by Alison Rieke’s The Senses of Nonsense (1992), Anca Rosu’s The Metaphysics of Sound in Wallace Stevens (1995), and Beverly Maeder’s Wallace Stevens’ Experimen- tal Language: The Lion in the Lute (1999). John N. Serio and B. J. Leggett’s anthology, Teaching Wallace Stevens (1994), put prosodic and lexical issues above the fold with much of its second section dedicated to sonic aspects of Stevensian language, including George Lensing’s superb essay, “Ste- vens’s Prosody,” which helped to attune readers’ ears to Stevens’ consid- erable rhythmic, intonational, and metrical effects and their relationship to his diction. Since 2001, there have been more than a dozen essays just in The Wallace Stevens Journal explicitly addressing various musical, lin- guistic, and prosodic aspects of sound in Stevens. (By contrast, The Wallace Stevens Journal from 1981 to 2001 lacks an equal number of essays on these topics if one excludes the 1991 special issue.) The return to sound in Stevens criticism has happily corresponded with a return to sound in broader critical efforts as well. In 2006, MLA’s then- President Marjorie Perloff’s determination to sustain a meditation on the theme “The Sound of Poetry, The Poetry of Sound” renewed scholarly attention to the technical and its significance. Acknowledging that poetry often is discussed in terms of content and not its materiality, she writes, “Yet poetry—which today is largely synonymous with lyric poetry—has always been designed not to deliver messages but to embody what are often conflicting meanings by formal and material means.
Load more

Recommended publications
  • Guide to the Papers of the Summer Seminar of the Arts
    Summer Seminar of the Arts Papers Guide to the Papers of The Summer Seminar of the Arts Auburn University at Montgomery Library Archives and Special Collections © AUM Library TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2 Biographical Information 3-4 Scope and Content Note 5 Arrangement 5-6 Inventory 6-24 1 Summer Seminar of the Arts Papers Collection Summary Creator: Jack Mooney Title: Summer Seminar of the Arts Papers Dates: ca. 1969-1983 Quantity: 9 boxes; 6.0 cu. ft. Identification: 2005/02 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Summer Seminar of the Arts Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: Jack Mooney donated the collection to the AUM Library in May 2005. Processing By: Samantha McNeilly, Archives/Special Collections Assistant (2005). Copyright Information: Copyright not assigned to the AUM Library. Restrictions Restrictions on access: There are no restrictions on access to these papers. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. 2 Summer Seminar of the Arts Papers Biographical/Historical Information The Summer Seminar of the Arts was an annual arts and literary festival held in Montgomery from 1969 until 1983. The Seminar was part of the Montgomery Arts Guild, an organization which was active in promoting and sponsoring cultural events. Held during July, the Seminar hosted readings by notable poets, offered creative writing workshops, held creative writing contests, and featured musical performances.
    [Show full text]
  • Sharpe, Tony, 1952– Editor of Compilation
    more information - www.cambridge.org/9780521196574 W. H. AUDen IN COnteXT W. H. Auden is a giant of twentieth-century English poetry whose writings demonstrate a sustained engagement with the times in which he lived. But how did the century’s shifting cultural terrain affect him and his work? Written by distinguished poets and schol- ars, these brief but authoritative essays offer a varied set of coor- dinates by which to chart Auden’s continuously evolving career, examining key aspects of his environmental, cultural, political, and creative contexts. Reaching beyond mere biography, these essays present Auden as the product of ongoing negotiations between him- self, his time, and posterity, exploring the enduring power of his poetry to unsettle and provoke. The collection will prove valuable for scholars, researchers, and students of English literature, cultural studies, and creative writing. Tony Sharpe is Senior Lecturer in English and Creative Writing at Lancaster University. He is the author of critically acclaimed books on W. H. Auden, T. S. Eliot, Vladimir Nabokov, and Wallace Stevens. His essays on modernist writing and poetry have appeared in journals such as Critical Survey and Literature and Theology, as well as in various edited collections. W. H. AUDen IN COnteXT edited by TONY SharPE Lancaster University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521196574 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
    [Show full text]
  • University of California Santa Cruz
    UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde
    [Show full text]
  • “Putting My Queer Shoulder to the Wheel”: America's Homosexual
    1 “Putting my Queer Shoulder to the Wheel”: America’s Homosexual Epics in the Twentieth Century Catherine A. Davies University College London UMI Number: U592005 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592005 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 I, Catherine Davies, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Index Pages 4 Abstract 5 Introduction 47 “Stranger in America”: Hart Crane’s Homosexual Epic 105 “It occurs to me that I am America”: Ginsberg’s Epic Poems and the Queer Shoulder 165 “Narcissus bent / Above the gene pool”: Merrill’s Epic of Childlessness 203 John Ashbery’s Flow Chart: “The natural noise of the present” 247 Postscript 254 Bibliography 4 Abstract This thesis examines five poems by four twentieth-century poets who have explored the epic tradition. Some of the poems display an explicit concern with ideas of American nationhood, while others emulate the formal ambitions and encyclopaedic scope of the epic poem.
    [Show full text]
  • A Collection of Letters Offers a New Look at the Life of Poet Anthony Hecht
    Poet & Epistolarian A collection of letters offers a new look at the life of poet Anthony Hecht. By Karen McCally ’02 (PhD) 36 ROCHESTER REVIEW March–April 2013 University LibrAries/DepArtMent of rAre books, speciAL coLLections, AnD preservAtion 4.3_RochRev_Mar2013_Hecht.indd 36 2/21/13 1:33 PM March–April 2013 ROCHESTER REVIEW 37 4.3_RochRev_Mar2013_Hecht.indd 37 2/21/13 1:33 PM October 9, 1976 Rochester, N.Y. My dear young man, It is, I think, salubrious and worthwhile for us all to meditate, from time to time, on the great theme of mutability and transience, to mortify our overweening vanity, and to say with the preacher, ‘What profit hath a man of all his labour, . .’ and so forth. What, after all, is Fame? And what, Celebrity? Fleeting evanescences, mere toys and illusions. I know you will think this simple modesty in me, and dismiss it with a casual wave of the hand. But when you attain to my age and gravity, you will know that some of those goals, which in your youth seemed the only possible or valuable target upon which attention could seriously be fixed, turn out in the end to be gossamer-friendly or utterly illusory. What are we, after all, but a handful of dust, if I may thus express myself? o wrote the poet Anthony Hecht to his friend William MacDonald, an archaeological historian. The letter concerned Hecht’s purchase of a book in the University of Rochester book- store—on the remainder shelf, at a steeply reduced price. The book had been a classic in Roman history, and in his musings to MacDonald, with whom he enjoyed especially colorful exchanges, Sthe eminent poet expressed the anxieties born of acclaim with his character- istic wit and rhythmic prose.
    [Show full text]
  • From Jason Shinder (Ed.), the Poem That Changed America: 'Howl' Fifty Years Later (New York: Farrar Straus, 2006), 24-43
    From Jason Shinder (ed.), The Poem that Changed America: ‘Howl’ Fifty Years Later (New York: Farrar Straus, 2006), 24-43. “A Lost Batallion of Platonic Conversationalists”: “Howl” and the Language of Modernism Marjorie Perloff In 1957, just a year after the publication of the City Lights edition of Howl, Louis Simpson wrote a poem called “To the Western World”: A siren sang, and Europe turned away From the high castle and the shepherd’s crook. Three caravels went sailing to Cathay On the strange ocean, and the captains shook Their banners out across the Mexique Bay. And in our early days we did the same, Remembering our fathers in their wreck We crossed the sea from Palos where they came And saw, enormous to the little deck, A shore in silence waiting for a name. The treasures of Cathay were never found. In this America, this wilderness Where the axe echoes with a lonely sound, The generations labour to possess And grave by grave we civilize the ground.1 Simpson had been a classmate of Ginsberg’s at Columbia University in the late forties. He was older and “wiser”—a World War II veteran who had served in the 101st Airborne Division in Europe. When the newly celebrated author of «Howl» returned to Manhattan in 1956, he sought out Simpson, who was then editing, with Donald Hall and Robert Pack, New Poets of England and America, which was to become the standard anthology used in undergraduate classrooms. Ginsberg recalls giving Simpson «this great load of manuscripts of [Robert] Duncan's, [Robert] Creeley's, [Denise] Levertov's, mine, [Philip] Lamantia's, [John] Wieners', [Gary] Snyder's, [Philip] Whalen's, [Jack] Kerouac's, even [Frank] O'Hara's —everything.
    [Show full text]
  • RHYME's REASON This Page Intentionally Left Blank 4TH EDITION
    RHYME'S REASON This page intentionally left blank 4TH EDITION *g JOHN HOLLANDER ^ RhvmJ e s ReasoA GUIDE TO ENGLISnH VERSE Foreword byj. D. McClatchy Afterword by Richard Wilbur Yale UNIVERSITY PRESS New Haven & London Foreword to the Fourth Edition copyright © 2014 by J. D. McClatchy Afterword to the Fourth Edition copyright © 2014 by Richard Wilbur. Third edition copyright © 2000 by John Hollander. New, enlarged edition copyright © 1989 by John Hollander. First edition copyright © 1981 by John Hollander. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Portions of this book were published earlier: as pp. 575-96 in Literature as Experience, by Irving Howe, John Hollander, and David Brom- wich, copyright © 1979 by Harcourt Brace Jovanovich, Inc.; and in Poetry (the canzona included here on pp. 61-63); both are reprinted with permission. "Luck, Be a Lady/' from Guys and Dolls by Frank Loesser. Copyright © 1948 Frank Music Corp. Copyright © renewed 1976 Frank Music Corp. All rights reserved. Used by permis- sion. Lines from "Crepuscular," from The Damages. Copyright © 1967 by Richard Howard. Used by permission. Lines from "The Right of Way" by William Carlos Williams, from Collected Poems, 1909-1939, volume i, copyright © 1938 by New Directions Publishing Corp. Reprinted by permission of New Directions Publishing Corp. "The Luna Moth," from Stars Principal. Copy- right © 1987 by J. D.
    [Show full text]
  • Peter Kline Course Name: POET 124W – the Poet’S Craft
    Preliminary Syllabus Instructor Name: Peter Kline Course Name: POET 124W – The Poet’s Craft Required Reading The Norton Anthology of Modern and Contemporary Poetry, 3rd Edition, Volumes 1 and 2 Rhyme’s Reason, John Hollander Grade Options: Students have three grading options for Continuing Studies courses: Letter Grade (A, B, C, D, No Pass) - written work is required Credit/No Credit (CR/NC) - attendance and participation (as determined by the instructor) is required No Grade Requested (NGR) - no work is required; No credit shall be received; No proof of attendance can be provided. (Not suitable for those requiring proof of attendance/completion.) Grading Most students enroll in this course under the non-graded or the Credit/No Credit (i.e. pass/fail) options. If you would prefer to be graded, or if you must receive a letter grade to meet the requirements of your academic program, participation will serve as the basis of your grade. In order to receive an A, you must complete seven of the ten weekly assignments on time, fulfill your responsibilities as a lead critic, and participate thoughtfully in class discussion. If you complete less than 60% of the course work on time, you will receive an F. How This All Works Each week will begin with an introductory craft talk that you’ll find in the Schedule section. To enrich and expand this discussion, I will ask you to read selections from the Norton Anthology of Modern and Contemporary Poetry. I will also assign reading from John Hollander’s Rhyme’s Reason. You’ll find these listed under This Week’s Reading.
    [Show full text]
  • On Poetry Anthologies
    RachelHadas On Poetry Anthologies T lhe word "anthology" (and in what follows I'm concerned only with poetry anthologies) denotes two very different kinds of book. There are the hefty tomes like the variousNorton anthologies- books in uniform, as it were, with double columns of text marching down pages of a tissue-paper thinness, designed, no doubt, to accommodate as much of the rapidly expanding canon as possible. And then there's the other kind of anthology - the kind some of us were lucky enough to encounter (perhaps a gift, perhaps a chance find) when we were young. I happily consign last year's Norton to the used-textbook man; but the latter kind I tend to hang onto. And even if we fail to retain early favoritesphysically, we hold them in our hearts. Not long ago I heard Donald Justice speak lovingly of a poetry anthology edited by Mark Van Doren (the title now escapes me) that Justice had cherished since high school. Anthologies I myself loved when I was growing up include Louis Untermeyer's The Magic Circle (1952) and John Hollander and Harold Bloom's The Wind and the Rain (1961), both given to me by my mother when I was about ten. Both, I believe, are now out of print. Anthologies that mysteriouslyhit the spot, that work, prompt reverieand digression. The Wind and the Rain introduced me to Thomas Lovell Beddoes, Edmund Waller, John Clare, and John Davidson, all poets about whom for yearsI knew next to nothing but who when I encountered them years later seemed reassuringly familiar.
    [Show full text]
  • Poetry Recordings in the Classroom
    APPENDIX A LEARNING TO LISTEN: POETRY RECORDINGS IN THE CLASSROOM his study has been dedicated to the premise that listening to poetry, espe- Tcially in the poet’s voice, should be integral to scholarship in modern poet- ics and reception. Audio recordings and other traces of the aural/oral life of a poem belong among the “texts” that scholars research, analyze, edit, and dis- seminate. By that same token, they belong in the classroom as more than ancil- lary materials or adjuncts to the anthology. In this appendix, I provide the syllabus for a course on poetic sound and voice in which audio plays a central role. In effect, this course is a seminar on the questions raised when we approach poetry as a speech act, when we listen to it as crafted sound, and when we par- ticipate in it as a situated performance. Roughly, the course mirrors the design of Recorded Poetry and Poetic Reception, insofar as it begins with varieties of poetry “in first person” and “in another’s voice,” then modulates to considerations of studio and stage performances as they are captured on record and in a poet’s reception. While “Poetic Voices” is a specialized seminar, the course’s guiding principles and sample lessons are readily transferable to the general modernist survey. All of the recordings I include are available commercially or from libraries, except when the lesson involves students in archival research. As a context for the syl- labus, I want to describe in detail an essential pedagogical principle of the course and two of the course assignments that involve research in the audio archive.
    [Show full text]
  • The Whole Naked Truth of Our Lives: Lesbian-Feminist Print Culture from 1969 Through 1989
    ABSTRACT Title of Document: THE WHOLE NAKED TRUTH OF OUR LIVES: LESBIAN-FEMINIST PRINT CULTURE FROM 1969 THROUGH 1989 Julie R. Enszer, Doctor of Philosophy, 2013 Directed By: Professor Deborah S. Rosenfelt, Women’s Studies, & Professor Martha Nell Smith, English During the 1970s and the 1980s, lesbian-feminists created a vibrant lesbian print culture, participating in the creation, production, and distribution of books, chapbooks, journals, newspapers, and other printed materials. This extraordinary output of creative material provides a rich archive for new insights about the Women’s Liberation Movement (WLM), gay liberation (the LGBT movement), and recent U.S. social history. In The Whole Naked Truth of Our Lives, I construct and analyze historical narratives of lesbian-feminist publishers in the United States between 1969 and 1989. Interdisciplinary in its conception, design, and execution, The Whole Naked Truth of Our Lives is the only sustained examination of lesbian print culture during the 1970s and 1980s; it extends the work of Simone Murray on feminist print culture in the United Kingdom as well as the work of literary scholars Kim Whitehead, Kate Adams, Trysh Travis, Bonnie Zimmerman, and Martha Vicinus, and historians Martin Meeker, Marcia Gallo, Rodger Streitmatter, Abe Peck, John McMillian, and Peter Richardson. From archival material, including correspondence, publishing ephemera such as flyers and catalogues, and meeting notes, oral history interviews, and published books, I assemble a history of lesbian-feminist publishing that challenges fundamental ideas about the WLM, gay liberation, and U.S. social history as well as remapping the contours of current historical and literary narratives. In the excitement of the WLM, multiple feminist practices expressed exuberant possibilities for a feminist revolution.
    [Show full text]
  • Modern American Poetry James S. Jaªe · Rare Books Modern American Poetry
    Modern American Poetry James S. Jaªe · Rare Books Modern American Poetry James S. Jaªe · Rare Books New York 2014 1. AGEE, JAmEs. Permit Me Voyage. With A Foreword By Archibald All items are offered subject to prior sale. MacLeish. 8vo, original cloth, dust jacket. New Haven: Yale Uni- All books and manuscripts have been carefully described; versity Press, 1934. First edition of Agee’s scarce first book, a col- however, any item is understood to be sent on approval and may lection of poems. Tipped to the front free endpaper is a slip of be returned within seven days of receipt for any reason paper on which is inscribed a note from stephen Vincent Benét: provided prior notification has been given. “Dear miss Locke, Here is the macleish book, my sister’s, and one Libraries will be billed to suit their budgets. by a young poet who, I think, has great promise, merry Xmas to you both! stephen Vincent Benét.” spine a little faded, inch-deep We accept Visa, masterCard and American Express. strip at top of the back cover faded as well, otherwise a near fine New York residents must pay appropriate sales tax. copy. $1,250.00 We will be happy to provide prospective customers with 2. AIKEN, CoNrad. Blue Voyage. 8vo, decorated endpapers, origi- digital images of items in this catalogue. nal cloth-backed textured paper over boards, t.e.g., publisher’s slip- Visitors are welcome monday through Friday and by case. N.Y.: scribner’s, 1927. First edition, limited issue. one of 125 appointment; however, it is advisable to call in advance.
    [Show full text]