Misc., Mostly Poetry Mark Alexander Alexander Rare Books 110 West Orange Street Hillsborough, NC [email protected] (919) 296-9176

Total Page:16

File Type:pdf, Size:1020Kb

Misc., Mostly Poetry Mark Alexander Alexander Rare Books 110 West Orange Street Hillsborough, NC Alexanderbooks@Charter.Net (919) 296-9176 ALEXANDER Literary Firsts & Poetry RARE BOOKS CATALOGUE FORTY-ONE: Misc., mostly Poetry Mark Alexander Alexander Rare Books 110 West Orange Street Hillsborough, NC [email protected] (919) 296-9176 All items are US or UK First Editions, First Printings, unless otherwise stated. All items guaranteed & are fully refundable for any reason within 30 days; orders subject to prior sale. NC residents please add 7.50% sales tax. Checks, money orders, most credit cards, & PayPal accepted. Net 30 days. Institutions billed according to need. Reciprocal terms offered to the trade. Shipping is free in the US (via Priority or First Class Mail); Canada $10 per shipment; elsewhere $20 per shipment. Visit AlexanderRareBooks.com for scans of most items. We encourage you to visit for the latest acquisitions. Thank you in advance for perusing this list. Happy Holidays to All Catalogue 41 1. Adonis (Ali Ahmed Said); Samuel Hazo (trans.). THE BLOOD OF ADONIS: Selected Poems. Pittsburgh: The University of Pittsburgh, 1971. First Edition. Red cloth in dust jacket; 8vo. Uncommon cloth issue of the Syrian-born poet's frst book published in the US. Signed by Adonis on the title page. Translated by Samuel Hazo. Adonis has long been on the shortlist for the Nobel Prize which only one Arabic writer the novelist Mahfouz has won. This copy very lightly rubbed and soiled, but still essentially fne in dust jacket. Scarce signed.[13214] $650.00 2. ANOTHER COPY. This copy fne, in a dust jacket rubbed at extremities but still close to fne. [13247] $45.00 3. Alexievich, Svetlana. ZINKY BOYS: Soviet Voices from the Afghanistan War. NY: Norton, 1992. First Edition. Cloth-backed boards in dust jacket; 8vo. 197 pp. The frst book published in the US by the Byelorussian Nobel Prize- winning author for 2015. A groundbreaking choice for the Literature prize as the author is a journalist, her works in the oral history tradition. Quite scarce in hardcover. Fine in fne dust jacket. [13215] $350.00 "She was put on trial on charges of defaming the Soviet Army with her third book, “Zinky Boys” (1992), about Soviet soldiers in Afghanistan, some thousands of whom were sent back home in zinc coffns. The testimonies eroded notions of military heroism. She was acquitted." [New York Times May, 21, 2016] 4. Ammons, A. R. OMMATEUM With Doxology. Philadelphia: Dorrance, 1955. First edition. Small 8vo. Light red cloth in dust jacket. The poet's rare frst book inscribed: "for Barbara 11-30-58" and signed in full by the author. Bookplate of Barbara H. Mallon on front paste down. 49 pp. Light soiling else about fne in a dampstained dust jacket with minimal wear and two closed tears with resulting creasing on the back panel. Near fne in very good - dust jacket. [10777] $2,500.00 5. Ashbery, John. SELF-PORTRAIT IN A CONVEX MIRROR. NY: Viking, 1975. First edition. This copy inscribed "for Leslie from his old pal 'Ashes' /Love etc. May 14, 1975 (the month of publication). This book was the frst of Ashbery's collections to win a major award: indeed it won the trifecta in 1976 with the NBCC, NBA and The Pulitzer. In 1985 he was awarded a MacArthur Foundation fellowship. A nearly fne tight clean copy, in a bright lightly worn at edges complete (not price-clipped) dust jacket. [10778] $500.00 6. Auster, Paul. AUGGIE WREN'S CHRISTMAS STORY. West Midlands, England: The Delos Press, 1992. First Edition. One of 50 numbered copies signed by Auster and fully bound in black Morocco (goatskin) with tan leather label, gilt stamped; marbled slipcase. 4to. Number "7" of 50 of 450 total, (100 in quarter-bound; 300 in wrappers). Spectacular copy of a lovely edition of a story published on Christmas day in 1990 in the New York Times. This the frst edition in the scarce and most attractive issue; the even numbers distributed in the US, the odd in the UK, where it was printed. Fine in a fne slipcase. [12579] $400.00 7. Auster, Paul. A LITTLE ANTHOLOGY OF SURREALIST POEMS. NY: Siamese Banana Press, 1972. First Edition. Mimeo printed on rectos only; 4to. Signed by Auster. Generally regarded as Auster's frst book, a mimeographed collection of his translations of poems by French Surrealist Breton, Éluard, Char, Péret, Tzara, Artaud, Soupault, Desnos, Aragon, and Hans Arp. Cover by George Schneeman. Covers front and back soiled with moderate creasing. Staples a bit tarnished though not rusty. An about very good copy. Drenttel C2. [13294] $350.00 AlexanderRareBooks.com (919) 296-9176 p.3 8. Auster, Paul. UNEARTH Living Hand 3. [Weston, CT]: Living Hand, 1974. First edition. Printed blue wraps. Small 8vo. Auster's frst book (after translations) a collection of poems; published as the third of eight issues of this magazine he began and edited. This copy inscribed to poet William Bronk. One pencil correction. Faint stains and fading, easily very good. [10653] $400.00 9. Berrigan, Ted. 'MANY HAPPY RETURNS" To Dick Gallup. NY: Grabhorn-Hoyem for Angel Hair Magazine, 1967. First edition. Single sheet card stock, folded, title in red printed by Grabhorn-Hoyem of San Francisco. 8vo. One of 200 copies. This copy is signed by Ted Berrigan, although not one of the four lettered hors commerce copies. Cover dusty with light offsetting, the interior and signature bright. Fischer p. 30. Very Good [11475] $150.00 Precedes the Corinth Press book bearing the same title by two years. 10. Berrigan, Ted. SO GOING AROUND CITIES. Berkeley: Blue Wind Press, 1980. First Edition. Red cloth in cloth slipcase; thick 8vo. 403 pp. One of 75 numbered and signed copies. Selected poems arranged in chronological order with new poems. Spine faded, a bit soiled and gilt dulled, case lightly rubbed, else fne. One of Berrigan's scarcest and most desirable titles. Near fne. [13248] $1,000.00 11. Berryman, John. HIS THOUGHT MADE POCKETS. Pawlet, Vt.: Claude Fredericks, 1958. First edition. Thin 8vo. Sewn cream wrappers. Number 236 of 500 copies (526 in total). The book was printed and handbound at Claude Fredericks' private press. Loosely inserted is a letter from Fredericks presenting this copy as a gift--to T.W. (not Tennessee Williams since Fredericks refers to TW's wife). This was the frst publication or frst book appearance of ten of the eleven poems printed. Stefanik A8.I.a White rice paper wrappers slightly darkened and worn along left and top edge, else nice and fne; lacking the envelope. [11024] $100.00 12. Blake, William. SONGS OF INNOCENCE. San Francisco: Grabhorn Press, 1925. First edition thus. 16mo. Original foral-patterned boards, gold-cloth backed, w/ printed paper spine label. 1 of 100 copies. Facsimile of the frst edition, frontispiece illus. printed in red. Printed by Ralph Thatcher at the press of John Henry Nash; completed with E. Grabhorn at the Grabhorn Press for private distribution of Albert Bender. Very scarce edition of the press, many not surprisingly in institutions. Edges worn, bottom about half to the boards; pink foral design faded, else complete and very clean. [10545] $300.00 13. Bronk, William. Adversaries. New Rochelle: James L. Weil, 1988. First edition. String-tied wrappers; [5 pp.]. Short poem by Bronk, issued as a holiday card. One of 50 "keepsake copies" printed by Mardersteig. Fine. [12858] $35.00 14. Bronk, William. BARE BONES. New Rochelle: James L. Weil, 1994. First Edition. Sewn blue wrappers; oblong 8vo. One of 50 printed "at the Kelly-Winterton Press". Six short poems. Fine. [12845] $35.00 15. Bronk, William. Beethoven: The Late Sonatas. New Rochelle: James L. Weil, 1990. First Edition. Sewn green printed wrappers. A single poem. One of 60 keepsake copies printed at the Kelly-Winterton Press. Fine. [12839] $35.00 16. Bronk, William. THE SHAKER CHAIR. New Rochelle: James L. Weil, 1993. First edition. Red string-tied wrappers; thin 8vo. Short poems by Bronk, one of 50 printed as a keepsake at the Kelly-Winterton press. Fine. [12862] $35.00 17. Brooks, Gwendolyn. ANNIE ALLEN. NY: Harper, 1949. Second edition. Navy cloth, gilt titling on the spine; small 8vo.; 60 pp. The poet's second regularly published book and frst by an African-American to win a Pulitzer Prize. Spine head bumped, light wear and soiling, but easily very good, Lacking the dust jacket. [13262] $75.00 AlexanderRareBooks.com (919) 296-9176 p.5 18. Bruncken, Herbert. LAST PARADE. Muscatine, Iowa: The Prairie Press, 1938. First edition. Blue cloth with paper label. One of 390 copies designed and printed by Carroll Coleman. Inscribed to 'Mary Katherine Reely in the deep- est personal esteem of Herbet Bruncken". Lightly faded along extremities, else fne in a chipped and dampstained lightly toned but complete and better than usual if good dj. [6843]$100.00 19. Carrigan, Andrew G;. Greg Kohl; Daniel Rosochacki. BOOK 3. N.p.: N.p., N.d. First Edition. This is one of 26 lettered copies ("Y") signed by all three poets. Additionally inscribed by Greg Kohl, mentioning that "the Sumac Press is Dan Gerber of Gerber's Baby Foods". The black cloth fne in an about very good dust jacket with three small chips and three (the longest 1") closed tears. The reverse of the jacket has three pieces of tape presumably from an old protective cover. [4352] $75.00 20. Carroll, Paul (ed.). THE YOUNG AMERICAN POETS. Chicago: Follett, 1968. First Edition. Red cloth in dust jacket; 8vo. 508 pp. Intro. by James Dickey. A hefty Big Table anthology - a solid collection with 54 poets including Ted Berrigan, Louise Gluck, James Tate, Charles Simic, Bill Knott (as Saint Geraud), Ron Padgett, Robert Hass and many others.
Recommended publications
  • Jordan Davis on Ted Berrigan
    of the central aesthetic struggles of twentieth-century poetry in English, the attempt to resolve the tension between closed and open forms. Koch admired the poems of William Carlos Williams for being so “odd and exciting;” they “catch the music of a man alive in his time.” Koch’s poems aspire to do the same, and more often than not they achieve that sound. It’s the sound of a man happy to be alive despite the world’s terrors, and who is awake to that feeling. I don’t think readers of poetry will ever tire of it; I suspect it will continue to convey something real about their own experience. It’s the sound of a man reaching into history without embarrassment or sense of piety, to draw forth whatever elements of poetic form are best suited to his occasions—from tight rhyming stanzas, to heroic couplets, to long and short free verse lines, to experimental serial structures—cheerfully ripping out the lining of yesterday’s attitudes and shaking off the lint of a persistent yet tired idiom. The spirit of poetry lives in Koch’s work, but we return to the work because it is alive with the spirit of Koch himself. If he started to write his first real poems by thwarting the expectations of literary convention in 1952, he continued to write into the twenty-first century by escaping the expectations of New York School poetics, in its tertiary generation. I discovered Koch’s work late, in the mid-nineties, with the poem “One Train May Hide Another,” and the book from which it takes its name; finding the single volumes that preceded it, many of them out of print, was no small discovery.
    [Show full text]
  • [Jargon Society]
    OCCASIONAL LIST / BOSTON BOOK FAIR / NOV. 13-15, 2009 JAMES S. JAFFE RARE BOOKS 790 Madison Ave, Suite 605 New York, New York 10065 Tel 212-988-8042 Fax 212-988-8044 Email: [email protected] Please visit our website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers These and other books will be available in Booth 314. It is advisable to place any orders during the fair by calling us at 610-637-3531. All books and manuscripts are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. ALGREN, Nelson. Somebody in Boots. 8vo, original terracotta cloth, dust jacket. N.Y.: The Vanguard Press, (1935). First edition of Algren’s rare first book which served as the genesis for A Walk on the Wild Side (1956). Signed by Algren on the title page and additionally inscribed by him at a later date (1978) on the front free endpaper: “For Christine and Robert Liska from Nelson Algren June 1978”. Algren has incorporated a drawing of a cat in his inscription. Nelson Ahlgren Abraham was born in Detroit in 1909, and later adopted a modified form of his Swedish grandfather’s name. He grew up in Chicago, and earned a B.A. in Journalism from the University of Illinois Urbana-Champaign in 1931. In 1933, he moved to Texas to find work, and began his literary career living in a derelict gas station. A short story, “So Help Me”, was accepted by Story magazine and led to an advance of $100.00 for his first book.
    [Show full text]
  • Transatlantica, 1 | 2019 Interview of Alice Notley 2
    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2019 Gone With the Wind after Gone With the Wind Interview of Alice Notley David Reckford Electronic version URL: https://journals.openedition.org/transatlantica/13862 DOI: 10.4000/transatlantica.13862 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference David Reckford, “Interview of Alice Notley”, Transatlantica [Online], 1 | 2019, Online since 01 June 2020, connection on 04 May 2021. URL: http://journals.openedition.org/transatlantica/13862 ; DOI: https:// doi.org/10.4000/transatlantica.13862 This text was automatically generated on 4 May 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Interview of Alice Notley 1 Interview of Alice Notley David Reckford AUTHOR'S NOTE This interview took place in Alice Notley’s apartment in Paris, in June 2018. 1 Alice Notley is a major American poet of our day, who has been living in Paris since the early 1990s, when she moved there with her second husband, the English poet, Doug Oliver (1937-2000), because Paris was where his professorial career was taking him. At that point Alice Notley was finding New York less amenable and was keen to go somewhere else. When he died in 2000, Alice Notley was sufficiently settled into Paris to remain there. 2 Although she is a Parisian now, Alice Notley was also a key figure on the Lower Manhattan poetry scene particularly of the late 1970s and the 1980s. Her first husband, Ted Berrigan, was an equally charismatic figure among an influential group of downtown poets.
    [Show full text]
  • Catalogue 143 ~ Holiday 2008 Contents
    Between the Covers - Rare Books, Inc. 112 Nicholson Rd (856) 456-8008 will be billed to meet their requirements. We accept Visa, MasterCard, American Express, Discover, and Gloucester City NJ 08030 Fax (856) 456-7675 PayPal. www.betweenthecovers.com [email protected] Domestic orders please include $5.00 postage for the first item, $2.00 for each item thereafter. Images are not to scale. All books are returnable within ten days if returned in Overseas orders will be sent airmail at cost (unless other arrange- the same condition as sent. Books may be reserved by telephone, fax, or email. ments are requested). All items insured. NJ residents please add 7% sales tax. All items subject to prior sale. Payment should accompany order if you are Members ABAA, ILAB. unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions Cover verse and design by Tom Bloom © 2008 Between the Covers Rare Books, Inc. Catalogue 143 ~ Holiday 2008 Contents: ................................................................Page Literature (General Fiction & Non-Fiction) ...........................1 Baseball ................................................................................72 African-Americana ...............................................................55 Photography & Illustration ..................................................75 Children’s Books ..................................................................59 Music ...................................................................................80
    [Show full text]
  • Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
    Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s.
    [Show full text]
  • Part of His History 1944-2020 by Steve Clay Originally Published in the Brooklyn Rail Dec 20 – Jan 21, 2021 Issue
    IN MEMORIAM Lewis Warsh: Part of His History 1944-2020 By Steve Clay Originally published in The Brooklyn Rail Dec 20 – Jan 21, 2021 Issue Working with Lewis Warsh was always an effortless pleasure and indistinguishable from our friendship. I first met him in Brooklyn in 1995, introduced by Mitch Highfill. We spoke about his archive and collection of rare books he wanted to sell, and arranged to meet at his apartment. During that visit I looked at his treasures, among which was a small book he'd assembled by hand when he found a set of black and white photographs taken in 1968, primarily on Bustin's Island, Maine and in Bolinas, California. The photographs were classic family-style vacation snapshots of Lewis and Anne Waldman, Ted, Sandy, and Kate Berrigan, Tom, Angelica, and baby Juliet Clark, Joanne Kyger, Jack Boyce, and others. Lewis had mounted the photos into a store- bought hardcover photo book, then typed captions and placed them across from the pictures: The front cover read Bustin's Island '68. I immediately proposed that Granary Books publish Portrait of Lewis Warsh, pencil on paper by Phong H. Bui. an edition. I was impressed with the spontaneity of the photographs and the sincerity of the writing. They gave me a private glimpse into a community of poets whose work and stories I knew but was now seeing in their formative years as friends and collaborators. It's a remarkably lucid portrait of a time and place. The captions, written 28 years after the fact, brought perspective to the changes during the intervening years.
    [Show full text]
  • New Final Rec 5 Cover.Tif
    The Recluse 5 Homage to George Schneeman Elio Schneeman Michael Lally Maureen Owen Will Yackulic Sandy Berrigan Pamela Lawton Vincent Katz Elinor Nauen Anselm Berrigan Todd Colby Lisa Birman Steven Hall Edmund Berrigan Gary Parrish Cliff Fyman June 2009 The Poetry Project for Katie Fresco for George Schneeman In this valley the blue green hills converge where we meet and tug at each other like the surrounding poplar trees; we mimic the landscape in dancing motions, the notion of our lives in a giant mixing bowl. We discard our clothes and converge with the hills that surround us. A sad music descends with the twilight: we will die here along this side of the earth. Prayer for my father God raise you when it’s time, you who are so kind, over our savage sea, You opened the world for me. I, who stole from you your heart, and saw it break. May your frescoes be the clouds of Heaven. Elio Schneeman George Schneeman from A to Z (from my perspective) Artist: George Schneeman lived the life of an artist in a way few do anymore. He painted, made collages, drew, used watercolors, sculpted, made plates and vases (as frisky and indelible as any antique Greek pottery, only more so), did frescoes even, pretty much anything an artist could do with actual materials, he did. And it was always engaging, entertaining, and often enlightening in ways the work didn’t project so that it was and is constantly surprising. Berrigan, Ted: Poet Ted Berrigan, in many ways the godfather of the St.
    [Show full text]
  • Joanne Kyger and the Aesthetics of Attention
    Joanne Kyger and the Aesthetics of Attention Terence Diggory Skidmore College In the popular mind Beat writing is expressionist, a “howl” of agony or an exclamation of ecstasy. Emotion is projected, expressed from the writer into the world. The attention of the reader or listener is directed to the writer as the source of what is expressed, so the person of Allen Ginsberg or Jack Kerouac, for instance, becomes as famous as his writing. Joanne Kyger, the subject of this paper, is not famous in this way. The fact that she is a woman has tended to keep her on the margins of the homosocial network of Beat writers, as recent critics, including my fellow panelists, Linda Russo and Amy Friedman, have noted. But Kyger’s writing practice also tends to direct attention away from the writer onto the world in which the writer is situated. “Being me” seems less urgent to Kyger than “being there,” the phrase that both Michael Davidson (88) and Linda Russo (“Introduction”) cite to characterize Kyger’s work. The phrase “being there” appears in a sequence entitled Joanne (1970), and that title makes clear that Kyger is not wholly detached from the concept of personal identity. But she writes, “I wasn’t built in a day” (About Now 196). The sequence Joanne, like much of her later work, gives the impression of a self being built during the writing process rather than a preexisting self being expressed through the writing. Individual moments of perception supply the building blocks, and each moment is equally capable of making or unmaking what has preceded it.
    [Show full text]
  • BERRIGAN, TED. Ted Berrigan and Alice Notley Collection, 1954-1983
    BERRIGAN, TED. Ted Berrigan and Alice Notley collection, 1954-1983 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Berrigan, Ted. Title: Ted Berrigan and Alice Notley collection, 1954-1983 Call Number: Manuscript Collection No. 1135 Extent: 2.5 linear feet (5 boxes), 1 oversized papers boxes, and 1 bound volume (BV) Abstract: Artificially created collection relating to New York poet Ted Berrigan, including writings, photographs, and printed material. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in Other Repositories Ted Berrigan papers, Thomas J. Dodd Research Center, University of Connecticut; Ted Berrigan papers, Syracuse University; and Ted Berrigan papers, Rare Book and Manuscript Library, Columbia University Library. Source Purchased from James S. Jaffe Rare Books, 2010. Additions were purchased from 2011 to 2015. Custodial History Purchased from dealer, provenance unknown. Citation [after identification of item(s)], Ted Berrigan and Alice Notley collection, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Ted Berrigan and Alice Notley collection, 1970-1980 Manuscript Collection No. 1135 Appraisal Note Acquired by Curator of Literary Collections and the Raymond Danowski Poetry Library, Kevin Young, as part of the Rose Library's holdings in American literature.
    [Show full text]
  • Lyric and the Rhetoric of the Serial Mode in Twentieth Century American Poetry: Figuring Voice in the Work of Spicer, Berrigan, and Ashbery
    Lyric and the Rhetoric of the Serial Mode in Twentieth Century American Poetry: Figuring Voice in the Work of Spicer, Berrigan, and Ashbery By Colin Peter Dingler A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in RHETORIC in the Graduate Division of the UNIVERSITY OF CALIFORNIA BERKELEY Committee in Charge: Professor Michael Mascuch, Co-Chair Professor Lyn Hejinian, Co-Chair Professor Eric Falci Professor Ramona Naddaff Professor Pheng Cheah Spring 2012 Copyright © by Colin Peter Dingler 2012 Abstract Lyric and the Rhetoric of the Serial Mode in Twentieth Century American Poetry: Figuring Voice in the Work of Spicer, Berrigan, and Ashbery by Colin Peter Dingler Doctor of Philosophy in Rhetoric University of California, Berkeley Professors Michael Mascuch and Lyn Hejinian, Co-Chairs Serial poetry has been recognized as an important formal category and writing practice in postwar experimental poetry, but the vital relationship between seriality and conventional aspects of the lyric genre has been obscure. After critiques of “lyric” that argue the term is politically suspect because it is linked to Romantic ideologies of the subject, new, historicized models of lyric emphasizing the functions and effects of voice have returned in recent criticism of Modernist and postwar experimental writing. Building on this recent criticism, this dissertation proposes that lyric rhetoric informs the turn towards the serial mode in poems by Jack Spicer, John Ashbery and Ted Berrigan. The serial poetry of these postwar writers makes lyric poetry function contextually, reviving the notion of voice. Seriality is best understood as a mode, not a form, that decontextualizes and re- contextualizes prior lyric fragments and allows poets to think about social relationships in terms of poetic ones, and vice versa.
    [Show full text]
  • Introduction: a Social Reading of Postmodern Poetic Form 1
    Notes Introduction: A Social Reading of Postmodern Poetic Form 1. In The Political Unconscious (1981), Fredric Jameson makes a stark distinction between intellectual and physical work. Nearly three decades later, in a postin- dustrial service economy, this stark distinction is less evident, though Jameson’s caution remains relevant: “One cannot without intellectual dishonesty assimilate the ‘production’ of texts . to the production of goods by factory workers: writ- ing and thinking are not alienated labor in that sense, and it is surely fatuous for intellectuals to seek to glamorize their tasks—which can for the most part be subsumed under the rubric of the elaboration, reproduction, or critique of ideology—by assimilating them to real work on the assembly line and to the experience of the resistance of matter in genuine manual labor” (45). 2. “Over the course of the Cold War, the United States devoted enormous resources to achieving and maintaining an advantage over the Soviet Union in most areas of military technology. Indeed, for the better part of half a century, reliance on qualitative superiority was at the heart of US military strategy, and its pur- suit was the central, defining feature of the entire American defense effort” (Friedberg 207). 3. Pointing to “the anticommunist crusade of the late 1940s and 1950s” as a major cause for the decline of American organized labor, Ellen Shrecker argues that “McCarthyism tamed American labor and brought it into the Cold War politi- cal consensus. Moreover, by preventing the nation’s unions, if so inclined, from building a broad-based social movement that challenged corporate values and championed social justice, McCarthyism narrowed political options for all Americans” (7).
    [Show full text]
  • Rare Books and First Editions R R Manuscripts and Letters R Literary
    Rare Books and First Editions R JamEs s. Jaffe R manuscripts and Letters R Rare Books Literary art and Photography R Rare Books & First Editions manuscripts & Letters Literary art & Photography James S. Jaffe Rare Books New York Item 1: Culin, stewart. Primitive Negro Art, 1923 [aFRICaN aRT] CULIN, stewart. Primitive Negro Art, Chiefly 1 from the Belgian Congo. 8vo, 42 pages, illustrated with 8 plates, origi- nal black, green & yellow printed wrappers. Brooklyn: Brooklyn mu- all items are offered subject to prior sale. seum, 1923. First edition of the first major exhibition of african art all books and manuscripts have been carefully described; however, any in america. In 1903, stewart Culin (1858–1929) became the found- item is understood to be sent on approval and may be returned within sev- ing curator of the Department of Ethnology at the museum of the en days of receipt for any reason provided prior notification has been given. Brooklyn Institute of arts and sciences, now the Brooklyn museum. Libraries will be billed to suit their budgets. He was among the first museum curators to display ethnological col- lections as art objects, not as ethnographic specimens, and among the We accept Visa, masterCard and american Express. first to recognize museum installation as an art form in its own right. New York residents must pay appropriate sales tax. Culin’s exhibition of Primitive Negro Art, based in large part on his own We will be happy to provide prospective customers with digital images of collection which became in turn the basis for the Brooklyn museum’s items in this catalogue.
    [Show full text]