Dr. Jonathan Williams to Serve As Regents' Lecturer

Total Page：16

File Type：pdf, Size：1020Kb

Dr. Jonathan Williams to serve as regents' lecturer March 25, 1982 Poet and publisher Dr. Jonathan Williams, who has presented the works of major American poets and novelists since the late 1950s, will serve as a regents' lecturer at the University of California, San Diego April 12 through April 15. He will present a lecture, a poetry reading and a visual presentation during his visit to the campus. Williams will give a talk on editing and publishing at 4 p.m. Monday, April 12, in the Mandeville Suite in Tioga Hall on the Muir College campus. The poetry reading will be presented at 4 p.m. Wednesday, April 14, in conference room 111A of the Administrative Complex. The visual presentation, featuring a display of Williams' photography, will be given at 4 p.m. Thursday, April 15, in the Mandeville Suite. Williams founded The Jargon Society, a poet's press, in 1951 and since then has presented major American poets and novelists such as Charles Olson, Robert Duncan, Robert Creeley, Allen Ginsberg, Mina Loy and Paul Metcalf. His publication of the first and second sequences of Charles Olson's "Maximus Poems" is seen as one of the major publishing events of the past 30 years. Williams has served as poet-in-residence at a number of institutions including the Aspen Institute for Humanistic Studies, the Maryland Institute, the University of Kansas and the University of Delaware. He has given some 950 readings, lectures, seminars and slide shows at universities, cultural centers and art galleries throughout the world. Williams was one of 21 poets invited to read at the White House during "A Salute to American Poetry and Poets" in 1980. He has written some 90 essays that have been published in such places as "The New York Times Book Review," "The Nation," and "Foxfire." His essays are soon to be published by Professor Douglas Chambers of the University of Toronto. For more information contact: Paul W. West, 452-3120 (March 25, 1982).

Copy Link

Recommended publications

Calvalcanty by Peter Hughes (Carcanet Press): Medieval on a Scooter I Ian Brinton
206 | GOLDEN HANDCUFFS REVIEW Calvalcanty by Peter Hughes (Carcanet Press): Medieval on a scooter I Ian Brinton In a letter from late 1831 to Julius Charles Hare of the Philological Museum William Wordsworth made a comment concerning his experiments in translation: Having been displeased, in modern translations, with the additions of incongruous matter, I began to translate with a resolve to keep clear of that fault, by adding nothing; but I became convinced that a spirited translation can scarcely be accomplished in the English language without admitting a principle of compensation. The translation work that Wordsworth was engaged with was from Virgil’s Aeneid and one poet laureate was commenting upon another when C. Day Lewis referred to this passage in his 1969Jackson Knight Memorial Lecture on ‘Translating Poetry’: By this principle we presumably mean putting things in which are not there, to compensate for leaving things out which cannot be adequately rendered. IAN BRINTON | 207 Day Lewis went on to suggest that much greater liberties can justifiably be taken with lyric verse than with narrative or didactic and that very word liberties possesses a hint of danger, revolution, of turning a world upside down: taking a liberty! In translating Cavalcanti’s ‘Canzone’ (Donna mi priegha) Ezra Pound had suggested that the poem, “may have appeared about as soothing to the Florentine of A.D. 1290 as conversation about Tom Paine, Marx, Lenin and Bucharin would to-day in a Methodist bankers’ board meeting in Memphis, Tenn.” Pound showed his translation
[Show full text]
An Oral Interpretation Script Illustrating the Influence
379 AN ORAL INTERPRETATION SCRIPT ILLUSTRATING THE INFLUENCE ON CONTEMPORARY AMERICAN POETRY OF THE THREE BLACK MOUNTAIN POETS: CHARLES OLSON, ROBERT CREELEY, ROBERT DUNCAN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By H. Vance James, B.A. Denton, Texas August, 1981 J r James, H. Vance, An Oral Interpretation Script Illustrating the Influence on Contemporary American Poetry of the Three Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan. Master of Science (Speech Communication and Drama), August, 1981, 87 pp., bibliography, 23 titles. This oral interpretation thesis analyzes the impact that three poets from Black Mountain College had on contemporary American poetry. The study concentrates on the lives, works, poetic theories of Charles Olson, Robert Creeley, and Robert Duncan and culminates in a lecture recital compiled from historical data relating to Black Mountain College and to the three prominent poets. @ 1981 HAREL VANCE JAMES All Rights Reserved TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. INTRODUCTION . 1 History of Black Mountain College Purpose of the Study Procedure II. BIOGRAPHICAL INFORMATION . 12 Introduction Charles Olson Robert Creeley Robert Duncan III. ANALYSIS . 31 IV. LECTURE RECITAL . 45 The Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan "These Days" (Olson) "The Conspiracy" (Creeley) "Come, Let Me Free Myself" (Duncan) "Thank You For Love" (Creeley) "The Door" (Creeley) "Letter 22" (Olson) "The Dance" (Duncan) "The Awakening" (Creeley) "Maximus, To Himself" (Olson) "Words" (Creeley) "Oh No" (Creeley) "The Kingfishers" (Olson) "These Days" (Olson) APPENDIX .
[Show full text]
Poem on the Page: a Collection of Broadsides
Granary Books and Jeff Maser, Bookseller are pleased to announce Poem on the Page: A Collection of Broadsides Robert Creeley. For Benny and Sabina. 15 1/8 x 15 1/8 inches. Photograph by Ann Charters. Portents 18. Portents, 1970. BROADSIDES PROLIFERATED during the small press and mimeograph era as a logical offshoot of poets assuming control of their means of publication. When technology evolved from typewriter, stencil, and mimeo machine to moveable type and sophisticated printing, broadsides provided a site for innovation with design and materials that might not be appropriate for an entire pamphlet or book; thus, they occupy a very specific place within literary and print culture. Poem on the Page: A Collection of Broadsides includes approximately 500 broadsides from a diverse range of poets, printers, designers, and publishers. It is a unique document of a particular aspect of the small press movement as well as a valuable resource for research into the intersection of poetry and printing. See below for a list of some of the poets, writers, printers, typographers, and publishers included in the collection. Selected Highlights from the Collection Lewis MacAdams. A Birthday Greeting. 11 x 17 Antonin Artaud. Indian Culture. 16 x 24 inches. inches. This is no. 90, from an unstated edition, Translated from the French by Clayton Eshleman signed. N.p., n.d. and Bernard Bador with art work by Nancy Spero. This is no. 65 from an edition of 150 numbered and signed by Eshleman and Spero. OtherWind Press, n.d. Lyn Hejinian. The Guard. 9 1/4 x 18 inches.
[Show full text]
Living Into Robert Creeley's Poetics Robert J. Bertholf It
Journal of American Studies of Turkey 27 (2008) : 9-49 And Then He Bought Some Lettuce: Living into Robert Creeley’s Poetics Robert J. Bertholf It must have been the fall semester 1963 when Robert Creeley came to Eugene to give a reading at the University of Oregon. For Love: Poems 1950–1960 had been published the year before. The writing program at the school held generous views about Creeley’s poetry and For Love had already brought in equally generous reviews. I went to the reading with great anticipation, mainly because as a second-year graduate student I was feeling free from Longfellow, Hawthorne and what I thought of as the pernicious New England mind; this was a chance to hear a poet speak directly to an audience and to get a sense of what was being talked about as the “New American Poetry.” The reading began with enthusiasm and went on with the high energy of Creeley’s tightly stretched observations about here and there, the isolation of self and longing for a community, the cry for the commune of love, and the insistence for exploring the abilities of language to express thought. About half way through the reading I was flooded with the terrifying anxiety that Creeley was propounding ways of seeing and thinking that I had fled New England to escape. “This guy’s from New England,” I said to a friend sitting beside me, and left. Creeley’s remark on the subject read years later would not have given me much comfort after leaving the reading: At various times I’ve put emphasis on the fact that I was raised in New England, in Massachusetts for the most part.
[Show full text]
James S. Jaffe Rare Books Llc
JAMES S. JAFFE RARE BOOKS LLC ARCHIVES & COLLECTIONS / RECENT ACQUISITIONS 15 Academy Street P. O. Box 668 Salisbury, CT 06068 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. [ANTHOLOGY] CUNARD, Nancy, compiler & contributor. Negro Anthology. 4to, illustrations, fold-out map, original brown linen over beveled boards, lettered and stamped in red, top edge stained brown. London: Published by Nancy Cunard at Wishart & Co, 1934. First edition, first issue binding, of this landmark anthology. Nancy Cunard, an independently wealthy English heiress, edited Negro Anthology with her African-American lover, Henry Crowder, to whom she dedicated the anthology, and published it at her own expense in an edition of 1000 copies. Cunard’s seminal compendium of prose, poetry, and musical scores chiefly reflecting the black experience in the United States was a socially and politically radical expression of Cunard’s passionate activism, her devotion to civil rights and her vehement anti-fascism, which, not surprisingly given the times in which she lived, contributed to a communist bias that troubles some critics of Cunard and her anthology. Cunard’s account of the trial of the Scottsboro Boys, published in 1932, provoked racist hate mail, some of which she published in the anthology. Among the 150 writers who contributed approximately 250 articles are W. E. B. Du Bois, Arna Bontemps, Sterling Brown, Countee Cullen, Alain Locke, Arthur Schomburg, Samuel Beckett, who translated a number of essays by French writers; Langston Hughes, Zora Neale Hurston, William Carlos Williams, Louis Zukofsky, George Antheil, Ezra Pound, Theodore Dreiser, among many others.
[Show full text]
Imc Robert Creeley
^IMC ROBERT CREELEY: A WRITING BIOGRAPHY AND INVENTORY by GERALDINE MARY NOVIK B.A., University of British Columbia, 1966 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February, 1973 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGLISH The University of British Columbia Vancouver 8, Canada Date February 7, 1973 ABSTRACT Now, in 1973, it is possible to say that Robert Creeley is a major American poet. The Inventory of works by and about Creeley which comprises more than half of this dissertation documents the publication process that brought him to this stature. The companion Writing Biography establishes Creeley additionally as the key impulse in the new American writing movement that found its first outlet in Origin, Black Mountain Review, Divers Books, Jargon Books, and other alternative little magazines and presses in the fifties. After the second world war a new generation of writers began to define themselves in opposition to the New Criticism and academic poetry then prevalent and in support of Pound and Williams, and as these writers started to appear in tentative little magazines a further definition took place.
[Show full text]
251 Poetry Warrior: Robert Creeley in His Letters
ROBERT ARCHAMBEAU POETRY WARRIOR: ROBERT CREELEY IN HIS LETTERS Creeley, Robert. The Selected Letters of Robert Creeley, ed. Rod Smith, Peter Baker, and Kaplan Harris. Berkeley: University of California Press, 2014. Robert Archambeau “The book,” wrote Robert Creeley to Rod Smith, who was then hard at work on the volume in question, Creeley’s Selected Letters, “will certainly ‘tell a story.’” Now that the text of that book has emerged from Smith’s laptop and rests between hard covers, it’s a good time to ask just what story those letters tell. Certainly it isn’t a personal one. Creeley was a New Englander, through and through, and of the silent generation to boot. Yankee reticence blankets the letters too thickly for us to feel much of the texture of Creeley’s quotidian life, beyond whether he feels (to use his favored idiom) he’s “mak- ing it” through the times or not. Instead, the letters, taken together, tell an intensely literary story—and, as the plot develops, an institutional, academic one. Call this story “From the Outside In,” maybe. Or, better, treat it as one of the many Rashomon-like eyewitness accounts of that contentious epic that goes by the title The Poetry Wars. If, like me, you entered the little world of American poetry in the 1990s, you found the Cold War that was ending in the realm of politics to be in full effect in poetry. What had begun as a brushfire conflict between rival journals and anthologies in the fifties and early sixties had settled into an institutionalized rivalry, with an Iron Curtain drawn between the mutu- ally suspicious empires of Iowa City and Buffalo.
[Show full text]
Literary Miscellany
Literary Miscellany Chiefly Recent Acquisitions. Catalogue 316 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering, and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inventory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
[Show full text]
Jonathan Williams, Including Reviews of the Lord of Orchards
Reviews and comments about Jonathan Williams, including reviews of The Lord of Orchards: The Truffle-Hound of American Poetry Jeffery’s official obituary of Jonathan Williams as published in the Asheville Poetry Review, on the North Carolina Arts Council website, and elsewhere, 2008-2010. Jonathan Williams: The Lord of Orchards Indy Week Top Ten Fall Book Releases September 2017. Readings in the Triangle of North Carolina chosen as Our Pick by Indy Week, November 2017. “A not-to-be-missed Festschrift commemorating this witty avant-garde publisher, photographer and man of letters. —Washington Post reviewer Michael Dirda in his holiday 2018 list “Forget trendy bestsellers: This best books list takes you off the beaten track”, November 28, 2018. When I hear the word "bluets," I tend to think not of Maggie Nelson's widely adored lyric essay, but rather of Jonathan Williams. His 1985 book, Blues and Roots/Rue and Bluets: A Garland for the Southern Appalachians, is a paean to the landscape that held and compelled him, a compendium of careful attention to the nuances and the lilt of a place. (Originally from Asheville, Williams, who died in 2008, attended Black Mountain College in the 1950s and lived in Scaly Mountain, N.C., for much of his life.) With Richard Owen, the Hillsborough-based poet Jeffery Beam coedited Jonathan Williams: The Lord of Orchards, a new anthology of "essays, images, and shouts" in response to Williams's fifty-plus years of poetry, photography, Southern folk-art collecting, and publishing (he ran famed independent press The Jargon Society). Fittingly, Beam and Owen bring together a cadre of interdisciplinary artists and writers to celebrate the collection.
[Show full text]
Borderlines of Poetry and Art: Vancouver, American Modernism, and the Formation of the West Coast Avant-Garde, 1961 -69
BORDERLINES OF POETRY AND ART: VANCOUVER, AMERICAN MODERNISM, AND THE FORMATION OF THE WEST COAST AVANT-GARDE, 1961 -69 by LARA HALINA TOMASZEWSKA B.A., The University of British Columbia, 1994 M.A., Concordia University, 1998 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Fine Arts) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 © Lara Halina Tomaszewska, 2007 i ABSTRACT In 1967, San Francisco poet Robin Blaser titled his Vancouver-based journal The Pacific Nation because the imaginary nation that he envisaged was the "west coast." Blaser was articulating the mythic space that he and his colleagues imagined they inhabited at Simon Fraser University and the University of British Columbia: a nation without borders, without nationality, and bound by the culture of poetry. The poetic practices of the San Francisco Renaissance, including beat, projective, and Black Mountain poetics, had taken hold in Vancouver in 1961 with poet Robert Duncan's visit to the city which had catalyzed the Tish poetry movement. In 1963, Charles Olson, Allen Ginsberg, and Robert Creeley participated in the Vancouver Poetry Conference, an event that marked the seriousness and vitality of the poetic avant-garde in Vancouver. The dominant narrative of avant-garde visual art in Vancouver dates its origins to the late 1960s, with the arrival of conceptualism, especially the ideas and work of Dan Graham and Robert Smithson. By contrast, this thesis argues for an earlier formation of the avant-garde, starting with the Tish poetry movement and continuing with a series of significant local events such as the annual Festival of the Contemporary Arts (1961-71), organized by B.C.
[Show full text]
Selected Poems, 1945
UC-Creeley_45-05.qxd 6/22/07 11:27 AM Page 1 Introduction ROBERT CREELEY WAS BORN in Arlington, Massachusetts, in 1926, and grew up in rural West Acton. His father’s side of the family was well es- tablished in the state, but Creeley was raised in closer proximity to his mother’s people, who came from Maine. When he was four, his father died of pneumonia. This was followed closely by the removal of Creeley’s left eye, injured by shattered glass a few years before, and by the straitened circumstance of the Great Depression. His mother, a nurse, kept care of the family—Creeley had an older sister—and his mother’s character, his mother’s habits, necessarily left a strong imprint on his own. (“My cheek- bones resonate/with her emphasis,” he writes in “Mother’s Voice” [000].) Inﬂuential also were the losses and uncertainties, the drop in status, which left their mark in patterns of thought, attitude, and behavior. The trajec- tory of Creeley’s adult life, his travels, employments, friendships, house- holds, and loves, is but one trace of a deeper restlessness also recorded in his work—or so it is tempting to think given Creeley’s enduring fascina- tion with contingency and his frequent return, in writing and conversa- tion, to the biographical facts cited above. Yet the import of a fact is never a fact. Life itself is, like writing, an act of interpretation. “Whatever is pre- sumed of a life that designs it as a ﬁxture of social intent, or form of fam- ily, or the effect of an overwhelming event, has little bearing here, even if one might in comfortable hindsight say that it all followed.”1 Disjunction, indeed, played an important role for Creeley—his refusals were often as important as what he embraced.
[Show full text]
Recent Examples of Bookmaking in the United States
Recent Examples of Bookmaking in the United States STEVEN CLAY and DAVID ABEL It seems appropriate to begin our survey with the following words by David Schoonover, Curator of Rare Books in The University of Iowa Libraries. They are taken from his article, "The University of Iowa Center for the Book," which appeared in the November 1987 issue of this journal: "It must be emphasized here that the word book in the center's title is used as a paradigm. While 'the book' as normally thought of is the core of the center's activities, the word itself is intended to cover every aspect of written or printed communication, in terms of physical development and cultural importance...con sequently, where the word book is encountered in the follow ing pages, it should be read with this broad definition in m in d ." Throughout its historical development, the roles that the book has played (and the concomitant conceptions and classi fications that have been applied to it, both by practitioners and others) have undergone continual revision and replacement. Often gradual, but sometimes sudden; often due to technical advances but also to shifts in the conditions of culture itself, these changes are irresistible, in any event. If this survey seems perhaps a little broad and indelicate, it may be because we have attempted to include activity which consciously situates itself at that point of changing understandings. The notices that follow are grouped geographically as a matter of convenience. We have long had one foot in the global village, and any careful attempt to elucidate the contemporary history of the book would of necessity have to be international in scope, and interdisciplinary in approach.
[Show full text]