Thomas Merton and James Laughlin: Two Literary Lives in Letters
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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 -
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. -
William Carlos Williams' Indian Son(G)
The News from That Strange, Far Away Land: William Carlos Williams’ Indian Son(g) Graziano Krätli YALE UNIVERSITY 1. In his later years, William Carlos Williams entertained a long epistolary relationship with the Indian poet Srinivas Rayaprol (1925-98), one of a handful who contributed to the modernization of Indian poetry in English in the first few decades after the independence from British rule. The two met only once or twice, but their correspondence, started in the fall of 1949, when Rayaprol was a graduate student at Stanford University, continued long after his return to India, ending only a few years before Williams’ passing. Although Williams had many correspondents in his life, most of them more important and better known literary figures than Rayaprol, the young Indian from the southeastern state of Andhra Pradesh was one of the very few non-Americans and the only one from a postcolonial country with a long and glorious literary tradition of its own. More important, perhaps, their correspondence occurred in a decade – the 1950s – in which a younger generation of Indian poets writing in English was assimilating the lessons of Anglo-American Modernism while increasingly turning their attention away from Britain to America. Rayaprol, doubly advantaged by virtue of “being there” (i.e., in the Bay Area at the beginning of the San Francisco Renaissance) and by his mentoring relationship with Williams, was one of the very first to imbibe the new poetic idiom from its sources, and also one of the most persistent in trying to keep those sources alive and meaningful, to him if not to his fellow poets in India. -
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. -
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. -
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ 'An image of the dead' : the modern role of elegy with special reference to John Berryman's Dream Songs. Jepson, Jeffrey The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 `An Image of the Dead': the Modern Role of Elegy with Special Reference to John Berryman's Dream Songs. by Jeffrey Jepson submitted for the degree of PhD University of London 1998 King's College London ß156 LONßMN Ut; IV. -
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. -
Delmore Schwartz: Two Lost Poems
Syracuse University SURFACE The Courier Libraries Fall 1985 Delmore Schwartz: Two Lost Poems Robert Phillips Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Literature Commons, and the Modern Literature Commons Recommended Citation Phillips, Robert. "Delmore Schwartz: Two Lost Poems." The Courier 20.2 (1985): 43-49. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIBRARY ASSOCIATES, COURIER VOLUME XX, NUMBER 2, FALL 1985 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XX NUMBER TWO FALL 1985 The Drawings and Papers of Alan Dunn and Mary Petty at Syracuse University by Elisabeth Kaltenbrunner Melczer, Research Assistant, 3 Syracuse University Art Collections Delmore Schwartz: Two Lost Poems by Robert Phillips, Literary Executor of the Estate 43 of Delmore Schwartz The "Black Dream" of Gerrit Smith, New York Abolitionist by John R. McKivigan, Lecturer in History at 51 Yale University; and Madeleine Leveille, Greater New Haven State Technical College French Literary Manuscripts at Syracuse University by Edward Lyon, George Arents Research Library 77 for Special Collections "Une Amazone", a Manuscript of Alexandre Dumas pere by Paul J. Archambault, Professor of French, 91 Syracuse University Granville Hicks and the Small Town by Leah Levenson; and Jerry Natterstad, 95 Professor of English, Framingham State College, Massachusetts News of the Syracuse University Libraries and the Library Associates 113 Delmore Schwartz: Two Lost Poems BY ROBERT PHILLIPS' Upon the death of Delmore Schwartz (1913-1966), his first liter~ ary executor, Dwight Macdonald, arranged for the majority of his pa~ pers to be deposited at the Beinecke Library at Yale University. -
Who Killed Poetry?
Commentary Who Killed Poetry? Joseph Epstein There are certain things in which mediocrity the best of their work was already behind them. is intolerable: poetry, music, painting, public The audience for poetry was then less than vast; eloquence. it had diminished greatly since the age of -LA BRUYRE Browning and Tennyson. In part this was owing to the increased difficulty of poetry, of which AM NOT about to say of poetry, as T. S. Eliot, in 1921, had remarked: "It appears Marianne Moore once did, that "I, too, likely that poets in our civilization, as it exists, dislike it," for not only has reading poetry brought at present, must be difficult." Eliot's justification me instruction and delight but I was taught to for this difficulty-and it has never seemed quite exalt it. Or, more precisely, I was taught that persuasive-is that poetry must be as complex as poetry was itself an exalted thing. No literary the civilization it describes, with the modem poet genre was closer to the divine than poetry; in no becoming "more comprehensive, more allusive, other craft could a writer soar as he could in a more indirect." All this served to make the modern poem. When a novelist or a dramatist wrote with poet more exclusive as well, which, for those of the flame of the highest inspiration, his work was us who adored (a word chosen with care) modern said to be "touched by poetry"-as in the phrase poetry, was quite all right. Modern poetry, with "touched by God." "The right reader of a good the advance of modernism, had become an art for poem," said Robert Frost, "can tell the moment the happy few, and the happy few, it must be said, it strikes him that he has taken an immortal are rarely happier than when they are even fewer. -
Vita for Alan M. Wald
1 July 2016 VITA FOR ALAN M. WALD Emeritus Faculty as of June 2014 FORMERLY H. CHANDLER DAVIS COLLEGIATE PROFESSOR OF ENGLISH LITERATURE AND AMERICAN CULTURE UNIVERSITY OF MICHIGAN, ANN ARBOR Address Office: Prof. Alan Wald, English Department, University of Michigan, 3187 Angell Hall, Ann Arbor, Mi. 48109-1003. Home: 3633 Bradford Square Drive, Ann Arbor, Mi. 48103 Faxes can be received at 734-763-3128. E-mail: [email protected] Education B.A. Antioch College, 1969 (Literature) M.A. University of California at Berkeley, 1971 (English) Ph. D. University of California at Berkeley, 1974 (English) Occupational History Lecturer in English, San Jose State University, Fall 1974 Associate in English, University of California at Berkeley, Spring 1975 Assistant Professor in the English Department and in the Program in American Culture at the University of Michigan, 1975-81 Associate Professor in the English Department and in the Program in American Culture at the University of Michigan, 1981-86 Professor in the English Department and in the Program in American Culture at the University of Michigan, 1986- Director, Program in American Culture, University of Michigan, 2000-2003 H. Chandler Davis Collegiate Professor, University of Michigan, 2007-2014 Professor Emeritus, University of Michigan, 2014- Research and Teaching Specialties 20th Century United States Literature Realism, Naturalism, Modernism in Mid-20th Century U.S. Literature Literary Radicalism in the United States Marxism and U.S. Cultural Studies African American Writers on the Left Modernist Poetry and the Left The Thirties New York Jewish Writers and Intellectuals Twentieth Century History of Socialist, Communist, Trotskyist and New Left Movements in the U.S. -
Alexander Howard
MR. POUND GOES TO WASHINGTON Alexander Howard Nothing foretells tomorrow to man neither horrors in dreams nor in oracles ef thet night-sight dont damn well smash ‘em. – Sophocles It often seems difficult to get a fix on Ezra Pound. He was a variety of things to a range of different people at various stages of his working life. Think here on how the young poet chose to present himself not long after his arrival in London in 1908. Pound “would approach with the step of a dancer,” Ford Madox Ford recalled, “making passes with an imaginary cane. He would wear trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand- painted by a Japanese friend, an immense sombrero, a flaming beard cut to a point, and a single, large blue earring.”1 As that evocative statement attests, this early version of Pound, who seems very much to have fancied himself as an updated and urbane version of the sort of medieval troubadour that so vividly captured his imagination as a university student enrolled at the University of Pennsylvania, was every inch the visually flamboyant and self-conscious literary stripling. Fast forward a few years to 1914. Pound is now working— alongside his Vorticist comrade Wyndham Lewis—in what purports to be a properly iconoclastic mode. But then the conflagration of the First World War changed everything. The death and destruction meted out during this four-year period leaves Pound bereft and disenchanted. He soon ups sticks for Italy by way of Paris. Respite was sought and found in Rapallo. -
John Berryman and the Poetics of Survival
HIDDEN IN PLAIN SIGHT: JOHN BERRYMAN AND THE POETICS OF SURVIVAL ___________________________________________ A Thesis Presented to The Honors Tutorial College Ohio University ___________________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in English ___________________________________________ by Andreas Britz June 2010 Britz 1 Introduction John Berryman was fifty-seven years old when he leapt to his death from the Washington Avenue Bridge on Friday, 7 January, 1972. Most of his friends and contemporaries had already gone before him; there was Randall Jarrell who stepped in front of a moving car on 14 October, 1965, and Dylan Thomas who had drank himself into a fatal stupor on 9 November 1953, and the beloved and brilliant Delmore Schwartz who died in obscurity in a cheap New York hotel on 11 July, 1966. Berryman’s untimely demise was sadly a predictable outcome for one of the finest specimens of America’s Middle Generation of poets. The so-called Middle Generation of poets of which Berryman was a part lived out their existence, at least initially, in the shadow of their Modernist predecessors such as T.S. Eliot, Robert Frost, Ezra Pound, and Wallace Stevens. Berryman, like many of his contemporaries, was first indoctrinated in the style of late Modernist or 1940s period verse, exemplified perhaps by the famed English expatriate W.H. Auden. To say that Berryman’s early verse was unexceptional would be an understatement. Reviews of Berryman’s first two notable publications, Poems (1942), and The Dispossessed (1948) singled out for praise his admirable craftsmanship and awareness of tradition but denied him the compliment of innovation, insight, and feeling.