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Peter Anastas Papers
PETER ANASTAS PAPERS Creator: Peter Nicholas Anastas Dates: 1954-2017 Quantity: 26.0 linear feet (26 document boxes) Acquisition: Accession #: 2014.077 ; Donated by: Peter Anastas Identification: A77 ; Archive Collection #77 Citation: [Document Title]. The Peter Anastas Papers, [Box #, Folder #, Item #], Cape Ann Museum Library & Archives, Gloucester, MA. Copyright: Requests for permission to publish material from this collection should be addressed to the Librarian/Archivist. Language: English Finding Aid: Peter Anastas Biographical Note Peter Nicholas Anastas, Jr. was born in Gloucester, Massachusetts in 1937. He attended local schools, graduating in 1955 from Gloucester High School, where he edited the school newspaper and was president of the National Honor Society. His father Panos Anastas, a restaurateur, was born in Sparta, Greece in 1899, and his mother, Catherine Polisson, was born in Gloucester of native Greek parents, in 1910. His brother, Thomas Jon “Tom” Anastas, a jazz musician, arranger and composer, was born in Gloucester, in 1939, and died in Boston, in 1977. Anastas attended Bowdoin College, in Brunswick, Maine, on scholarship, majoring in English and minoring in Italian, philosophy and classics. While at Bowdoin, he wrote for the student Peter Anastas Papers – A77 – page 2 newspaper, the Bowdoin Orient, and was editor of the college literary magazine, the Quill. In 1958, he was named Bertram Louis, Jr. Prize Scholar in English Literature, and in 1959 he was awarded first and second prizes in the Brown Extemporaneous Essay Contest and selected as a commencement speaker (his address was on “The Artist in the Modern World.”) During his summers in college, Anastas edited the Cape Ann Summer Sun, published by the Gloucester Daily Times, and worked on the waterfront in Gloucester. -
A Coalition of Societies Devoted to the Study of American Authors 28 Annual Conference on American Literature May 25 – 28, 20
American Literature Association A Coalition of Societies Devoted to the Study of American Authors 28th Annual Conference on American Literature May 25 – 28, 2017 The Westin Copley Place 10 Huntington Avenue Boston, MA 02116 Conference Director: Olivia Carr Edenfield Georgia Southern University American Literature Association A Coalition of Societies Devoted to the Study of American Authors 28th Annual Conference on American Literature May 25 – 28, 2017 Acknowledgements: The Conference Director, along with the Executive Board of the ALA, wishes to thank all of the society representatives and panelists for their contributions to the conference. Special appreciation to those good sports who good-heartedly agreed to chair sessions. The American Literature Association expresses its gratitude to Georgia Southern University and its Department of Literature and Philosophy for its consistent support. We are grateful to Rebecca Malott, Administrative Assistant for the Department of Literature and Philosophy at Georgia Southern University, for her patient assistance throughout the year. Particular thanks go once again to Georgia Southern University alumna Megan Flanery for her assistance with the program. We are indebted to Molly J. Donehoo, ALA Executive Assistant, for her wise council and careful oversight of countless details. The Association remains grateful for our webmaster, Rene H. Treviño, California State University, Long Beach, and thank him for his timely service. I speak for all attendees when I express my sincerest appreciation to Alfred Bendixen, Princeton University, Founder and Executive Director of the American Literature Association, for his 28 years of devoted service. We offer thanks as well to ALA Executive Coordinators James Nagel, University of Georgia, and Gloria Cronin, Brigham Young University. -
Alcalay-President of Beauty Letter
Ph.D Program in English 365 Fifth Avenue New York, NY 10016-4309 July 26, 2014 To Whom It May Concern: It is a distinct pleasure to have this opportunity to write a letter in enthusiastic support of “President of Beauty: The Life & Times of Lester Young,” a proJect of The Center for Independent Documentary, in collaboration with filmmaker Henry Ferrini. I was honored to have been involved in a previous documentary film directed by Ferrini, Polis Is This: Charles Olson & The Persistence of Place, a brilliant work that is one of the best films on an American literary figure that I’m aware of. My involvement included an appearance in the film, the filming of one of my seminars at The Graduate Center, CUNY, and accompanying Ferrini and poet Anne Waldman during the interview process with the late Amiri Baraka. All of Ferrini’s work is characterized by multiple and intersecting commitments: first, to the historical record and the spirit of his subJect, and then to the context of the places his subJects either lived in, interacted with, or influenced. In the case of Lowell Blues, a visual poem on the city of Lowell rooted in the writing of Jack Kerouac, Ferrini’s aim was to bring Lowell to life for its own inhabitants, and one of his goals was to see that the film became part of the Lowell Public School curriculum, which he succeeded in doing. Poem in Action, based on the life and works of Gloucester based poet Vincent Ferrini, depicts the extraordinary story of someone rooted in a place but whose larger vision and historical import hadn’t been truly documented. -
Ac Know Ledg Ments
A c k n o w l e d g m e n t s In the course of my research, Robert Duncan’s friends, without exception, granted me a share in the generosity, goodwill, and love for life that so char- acterized his being. Two people made a special eff ort to help me understand Robert Duncan’s “dailiness,” and their insights were key factors in the making of this book. Jess Collins agreed that it was an appropriate time for a biography of Duncan to be written, and he welcomed me into his life for a little bit over a de cade, allowing me to experience the rituals of house hold that he had shared with Duncan. Barbara Jones and her family in Bakersfi eld, California, extended me great hospitality. Barbara’s memories of her brother as a child and of their life in the San Joaquin Valley were in all ways illuminating. Th eir insights were key factors in the making of this book. Th is book was also made possible through the ongoing tireless support of my husband, Th omas Evans. His own studies of Jess, Duncan, and the West Coast assemblage artists contributed at every turn to the thoroughness of this book. His companionship allows me to live in a house hold as rich as Jess and Duncan’s. I am grateful to Robert Duncan’s friends, family, students and acquaintances: Gerald Ackerman, Robert Adamson, the late Virginia Admiral, Charles Alexander, the late Donald Allen, Michael Anania, Bruce Andrews, Norman Austin, Todd Baron, Dawn Michelle Baude, Tosh Berman, Charles Bern- stein, Robert Bertholf, the late Robin Blaser, Richard Blevins, George Bower- ing, the late Stan Brakhage, the late David Bromige, the late James Brough- ton, the late Norman O. -
Review of Polis Is This by Henry Ferrini and Ken Riaf by Richard W
REVIEW OF POLIS IS THIS BY HENRY FERRINI AND KEN RIAF BY RICHARD W. AMERO The documentary film Polis is This: Charles Olson and the Persistence of Place is a thoroughly professional and deeply thought portrait of Charles Olson, a poet more than a philosopher who has left a deep imprint on all those who knew him. Thanks to this film Olson will continue to have an imprint on present and succeeding generations. The locale is mainly Gloucester, a New England fishing city that is undergoing commercial and industrial transformations most of which appalled Olson. There are many commentators and readers of Olson’s poems. Most of the time the identity of the commentators is not disclosed until sometime after they have made their appearance. Outstanding among these are Charlie Olson, Olson’s son, John Malkovich, actor and reciter, John Stilgoe, Harvard professor of Visual and Environmental Studies, Robert Creeley, poet and friend, Jonathan Williams, poet and former Black Mountain College student, Michael Rumaker, writer and former Black Mountain College student, Diane di Prima, poet with a “Beat” past, Peter Anastas, social worker and writer, and many others. Each interviewee casts light on part of Olson’s life, thought and personality. Individual scenes are indebted in part to paintings by artists and photographs by photographers who were entranced by the natural and urban scenery of Gloucester. These scenes are juxtaposed with the narrative to illustrate the depth of Olson’s vision. The clean bright light in Gloucester is amply transmitted. Like most cities, the Gloucester ambience has its good and bad days even during those times when it is not beshrouded by bulldozers. -
Promo Mailer
G]c¸`Sg]c`]e\b`OW\ g]c¸dSU]bg]c`]e\b`OQY ;gabS`gWa\]b[gabS`W]ca O\Rg]cQO\U]O\geVS`S 7bWabVSTOQb]TZWTS :WTSWaZWbS`OZZgbVS “The best film about an American poet c\RS`abO\RW\UbVObg]c ever made.” R]\¸bc\RS`abO\R — The Boston Phoenix “A perfect film...glows with an inspired belief and intensity.” — Michael McClure, Poet “Sublime...by far the best film I’ve ever seen on a figure in American literature. Simply stunning.” — Jim Harrison Author, Legends of the Fall “Coherent, topographically astute, witnessed.” — Iain Sinclair, Author, London Orbital “Absolutely terrific!!!” — Andrei Codrescu, NPR “Malkovich is riveting.” — Mel Vapour, Berkeley Film Festival Ferrini Productions, Inc. Productions, Ferrini Street Wall Five MA 01930 Gloucester, This program includes: Celebrate poetry right here, right now: • A screening of the film. • Presentation by Director Henry Ferrini and/or Writer Ken Riaf. bring POLIS IS THIS to your campus today. • Filmmaker(s) lead discussion. Using the power of film and poetry,help students rediscover a startling Also available: world of wonder in the seemingly insignificant landscapes of their daily • Teacher’s Guide, with suggested writing projects. lives. Join actor John Malkovich in a one-hour race for meaning that stretches The program runs from from antiquity to this morning’s news, and from the local to the universal. 90 to 120 minutes. At six-foot-eight inches tall, 275 pounds, and known to a generation of poets as the Big Fee includes film rental and honorarium. Fire Source, Charles Olson finds himself drifting back to the hard-luck fishing port of his boyhood summers. -
“Polis Is This: the Persistence of Place” a Review Essay1
“Polis is This: The Persistence of Place” A Review Essay1 Henry Ferrini’s film on the life of Charles Olson, great Gloucester poet and the originator of projective verse, has finally been released after more than a dozen years as a work in progress. It could have been entitled “Polis is eyes.” For this is the opening line, both of Letter 6 of the MAXIMUS POEMS [hereafter, abbreviated “MP”]and of the movie, which begins with a voice-over asking “What do you see..?” This is a promising opening, for one of the keys to understanding the intersect of poet and place is perception – its modalities in words and action, its nature and implications. The opening words, however, quickly move from a local to cosmic perspective (“as far as space…”). This shift from the concrete to the abstract begins to indicate what becomes a problem with the entire documentary -- its failure to realize the “particularity” of place in terms of essential details that were earmarks of Olson’s projective verse and vision. It is especially ironic that so much of the movie’s imagery (perception?) has the quality of tourist videocams – images of gulls and fishing boats that seem more like those of the outsider looking on rather than those of the citizen invested in his community (polis?). This perception of the Gloucester landscape is utterly foreign to Olson, who views Gloucester as a working, not a tourist landscape. Thus, by the time we hear Olson say, at the end, “Where we are is a particularity we’d better use…the truth is what we do with it,” the words don’t ring nearly as true as they should, for the preceding words and images do not take us to this point with sufficient matter, focus and momentum. -
Continued Good Luck in Drawing Exceptional Scholars Like Debby Ap- Plegate to His Cause
538 THE NEW ENGLAND QUARTERLY continued good luck in drawing exceptional scholars like Debby Ap- plegate to his cause. Gretchen A. Adams, an Assistant Professor of History at Texas Tech University, specializes in nineteenth-century political culture and rhetoric. Downloaded from http://direct.mit.edu/tneq/article-pdf/80/3/538/1791262/tneq.2007.80.3.538.pdf by guest on 29 September 2021 Polis Is This: Charles Olson and the Persistence of Place. Afilmby Henry Ferrini and Ken Riaf (2007). (See http://www.polisisthis. com/Polis/Screenings.html for times and locations of screenings.) The techniques of cinema and of American poetry developed to- gether. Ezra Pound as much as Sergei Eisenstein proposed a theory and practice of montage. Both men were interested in displacing the structure of phonetic writing with the image; both sought a medium that would, by analogy, behave like Chinese written characters. The logic of the alphabet was the logic neither of speech nor of sight but its own unearthly—and for earthly creatures, misleading—form. Re- sponding to Pound and Eisenstein, Charles Olson wrote in a crucial early essay, “The Human Universe” (1950): “We have lived long in a generalizing time, at least since 450 b.c. And it has had its effects on the best of men, on the best of things. Logos, or discourse, for example, in that time, so worked its abstractions into our concept and use of language that language’s other function, speech, seems so in need of restoration that several of us go back to hieroglyphs or ideograms to right the balance.” Polis Is This opens with a close-up of an eye, itself a glyph, and turning into the glyph of what it sees—the surf, the New England coast from the air, the map of Gloucester Harbor, the harbor itself, and Our Lady of Good Voyages, the Virgin not with the baby but a schooner in her arms. -
Urban Anxieties in Twentieth Century British and American Poetics
The Problem of the City: Urban Anxieties in Twentieth Century British and American Poetics David R Miller PhD 2013 1 The Problem of the City: Urban Anxieties in Twentieth Century British and American Poetics David Richard Miller A Thesis submitted in partial fulfillment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Department of English Manchester Metropolitan University 2013 2 For Youngjoo Choi (최영주) ‘The she-theorist knew something more crimson than place’ (Robertson Occasional Work 238) 3 ‘Let there be Genevan Convention on city and law and what might be proper de- ployment of violence within the state’ (Griffiths Nomad Sense 73) 4 Contents 1. Preface (p. 6) 2. Abstract (p. 8) 3. <Introduction> The Problem of the City (p. 11) 4. <Chapter One> Poetry, Polis and Necropolis (p. 37) Poetry, Polis and Necropolis (p. 39) Cities of Prose: Romantic and Modernist Cities (p. 44) 5. <Chapter Two> Root City: Charles Olson’s polis (p. 77) ‘Democratic Vista(s)’?: Howe, Whitman and Williams (p. 85) Polis-tician: Charles Olson’s Polis (p. 134) 6. <Chapter Three> City of Traces: Roy Fisher, Iain Sinclair and Allen Fisher (p. 163) City of Traces: Roy Fisher (p. 168) Olsonian Allegiances: Iain Sinclair (p. 176) Decoherence: Allen Fisher (p. 197) 7. <Chapter Four> Delusional City: Lisa Robertson’s Vancouver (p. 227) 8. <Conclusion> City of Panic (p. 266) 9. <Appendix> Cities of WARR: Francis Crot (p. 274) 10. Works Cited (p. 293) 5 Preface This germ of this thesis began with an inexplicably well-placed copy of Burton Hatlen’s George Oppen: Man and Poet (1981) obtained from the Kenneth Green library at the MMU up to ten years ago. -
The Limits of Fabrication: Materials Science, Materialist Poetics
THE LIMITS OF FABRICATION THE LIMITS OF FABRICATION MATERIALS SCIENCE, MATERIALIST POETICS NATHAN BROWN Fordham University Press New York 2017 Copyright © 2017 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Fordham University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Fordham University Press also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Visit us online at www.fordhampress.com. Library of Congress Cataloging-in-Publication Data available online at catalog.loc.gov. Printed in the United States of America 19 18 17 5 4 3 2 1 First edition A book in the American Literatures Initiative (ALI), a collaborative publishing project of NYU Press, Fordham University Press, Rutgers University Press, Temple University Press, and the University of Virginia Press. The Initiative is supported by The Andrew W. Mellon Foundation. For more information, please visit www.americanliteratures.org. for Cynthia Things, and present ones, are the absolute conditions. —Charles Olson, “Equal, That Is, to the Real Itself” (1958) Blt o by Bolt Every single P art is a crown to Anatom —Caroline Bergvall, Goan Atom (2001) Work nano, think cosmologic. -
American Literature Association
American Literature Association A Coalition of Societies Devoted to the Study of American Authors 20th Annual Conference on American Literature May 21-24, 2009 The Westin Copley Place 10 Huntington Avenue Boston, MA 02116 (617) 262-9600 Conference Director Alfred Bendixen Registration Desk (Essex Foyer): Wednesday, 8:00 pm – 10:00 pm; Thursday, 7:30 am - 5:30 pm; Friday, 7:30 am - 5:00 pm; Saturday, 7:30 am - 3:00 pm; Sunday, 8:00 am - 10:30 am. Book Exhibits (Staffordshire Room): Thursday, 10 am – 5 pm; Friday, 9 am – 5 pm; Saturday, 9 am – 1:00 pm. Readings and Special Events Friday, May 22, 2009, 5:00 – 6:20 pm. A Concert Reading and Discussion of Susan Glaspell’s Inheritors. Adapted and Directed by Cheryl Black, Dept. of Theatre, University of Missouri-Columbia Friday, May 22 at 6:30: Elizabeth Alexander, who will also be receiving the 2009 Stephen Henderson Award from the African American Literature and Culture Society, will be offering a brief poetry reading. A book-signing and reception hosted by the African American Literature and Culture Society, the Toni Morrison Society, the Charles Chesnutt Association, the John Edgar Wideman Society, and the Charles Johnson Society will follow the presentation. Saturday, May 23, 2009 at 5:00: Poetry Reading by Frank Bidart. “A Colloquium on Elizabeth Bishop, Robert Lowell and Frank Bidart”: The Robert Lowell Society and the Elizabeth Bishop Society invite all conference participants to a series of panels celebrating the work and lives of these important American poets. “A Colloquium on Adaptation in Theatre and Drama”: The American Theatre and Drama Society, the Susan Glaspell Society, the Arthur Miller Society, the Eugene O’Neill Society, and the Thornton Wilder Society invite all conference participants to a series of panels and roundtables on the theme of Adaptation. -
Robert Creeley's Writing/Reading of Wallace Stevens
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Gleeson Library Faculty and Staff Research and Gleeson Library | Geschke Center Scholarship 2011 “A consistently useful measure”: Robert Creeley’s Writing/Reading of Wallace Stevens Patrick James Dunagan Follow this and additional works at: https://repository.usfca.edu/librarian Part of the Poetry Commons Fulcrum 7 (2011) “A consistently useful measure”1: Robert Creeley’s Writing/Reading of Wallace Stevens Patrick James Dunagan While William Carlos Williams is the immediate literary predecessor often associated with having early influence on the work of Robert Creeley, Wallace Stevens, beginning in Creeley’s first letters in the early 1950s to the poet Charles Olson, and re-emerging in his later work, makes several appearances in the printed record. References to Stevens culminate in the final section of Creeley’s long poem “Histoire de Florida,” published in 1996, the beginning of the last decade of his life, where lines from Stevens’ “Anecdote of the Jar” (a poem which, as will be shown, remained central to Creeley throughout his life) are quoted alternating with Creeley’s own. Although, as Creeley admits, “much of [his] own initial writing, both prose and poetry, used Stevens as a model” (“The the” 121), the earliest direct reference in poetry does not appear until decades later with his poem “For John Duff” out of his collection Later published in 1979, which summons from the very same Stevens poem the line “I placed a jar in Tennessee. .” as an initiating stance (Collected 169). These references to Stevens in Creeley’s work expand and reflect on Creeley’s belief that, as he put it, “Stevens, in Williams’ phrase, thought with his poem” (“In Respect” 50).