DOCSLIB.ORG

Philip Larkin and Charles Tomlinson in Contemporary Britain

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philip Larkin and Charles Tomlinson in Contemporary Britain Poetry Against the World Poetry Against the World: Philip Larkin and Charles Tomlinson in Con- temporary Britain provides an insightful examination of Philip Lar kin and Charles Tomlinson in the context of antagonism toward poetry, art, and the world. —David A. Salomon, The Sage Colleges Poetry Against the World: Philip Larkin and Charles Tomlinson in Contemporary Britain brings together two major poets, who espouse opposite aesthetic ambitions, yet are both taken as paragons of English- ness, in order to ask how they pitch their poetry against an inhospitable world. This book explores how these two representative poets seek to redress an “age of demolition” through their poetry, and how their audi- ences react to the types of redress they propose. Magdalena Kay is an Associate Professor of English at University of Victoria, Canada. Routledge Studies in Contemporary Literature 12 The Vampire in Contemporary Popular Literature Lorna Piatti-Farnell 13 Religion in Cormac McCarthy’s Fiction Apocryphal Borderlands Manuel Broncano 14 The Ethics and Aesthetics of Vulnerability in Contemporary British Fiction Jean-Michel Ganteau 15 Genre Fiction in New India Post-Millennial Receptions of “Weird” Narratives E. Dawson Varughese 16 Rethinking Race and Identity in Contemporary British Fiction Sara Upstone 17 A Poetics of Trauma after 9/11 Representing Trauma in a Digitized Present Katharina Donn 18 The Cultural Politics of Chick Lit Popular Fiction, Postfeminism and Representation Heike Missler 19 Maximalism in Contemporary American Literature The Uses of Detail Nick Levey 20 Poetry Against the World Philip Larkin and Charles Tomlinson in Contemporary Britain Magdalena Kay For a full list of titles in this series, please visit www.routledge.com. Poetry Against the World Philip Larkin and Charles Tomlinson in Contemporary Britain Magdalena Kay First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Magdalena Kay to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data CIP data has been applied for. ISBN: 978-1-138-54566-3 (hbk) ISBN: 978-1-351-00258-5 (ebk) Typeset in Sabon by codeMantra For Leonora and Spencer Contents Acknowledgments ix Abbreviations Used in Text xi Introduction: “The mind is a hunter of forms” 1 1 An Age of Demolition 21 2 The Trembling Mirror 46 3 All the Kingdoms of Possibilities 75 4 When Readings Grow Erratic 106 5 Celestial Recurrences, Lost Displays 143 Conclusion 175 Index 183 Acknowledgments I thank the Harry Ransom Center at the University of Texas, Austin for granting me a short-term research fellowship, which I took in the spring of 2014. This fellowship allowed me to consult the Tomlinson archives, which proved crucial for fulfilling the project of this book. I also thank the Hull History Centre in Hull, England for allowing me access to their Larkin materials in the summer of 2013, which include Larkin’s invaluable workbooks. I am grateful to Ivor Maw and Philip Pullen, whom I met on my trip to Hull, for long conversations about Larkin and for trips to various sites associated with the poet. Thanks are also due to The Society of Authors as the Literary Repre- sentative of the Estate of Philip Larkin. I am grateful to my colleagues at the University of Victoria for listen- ing to my ramblings about this book for the past several years. I am grateful to my parents for their constant love and support. To Kim, my gratitude and love. Without you this project would not have been possible. To Leonora and Spencer, who were born while I was writing this book, it is dedicated to you. Abbreviations Used in Text The following abbreviations are used for commonly cited work by Philip Larkin. There are, unfortunately, no parallel sources for Charles Tomlinson’s work: there are still no complete collections of his poems, prose writing, or correspondence. Hence, Tomlinson’s poems are cited by volume, while Larkin’s are located within his Complete Poems. CP The Complete Poems FR Further Requirements: Interviews, Broadcasts, Statements and Book Reviews LM Letters to Monica RW Required Writing: Miscellaneous Pieces, 1955–1982 SL Selected Letters of Philip Larkin, 1940–1985 Introduction “The mind is a hunter of forms” In 1971, a jaded and middle-aged Donald Davie wrote to his best friend, Charles Tomlinson: Sometimes I wonder why we go on manoeuvering and engineering publicity for ourselves as if we were still young careerists. We’re neither of us going to get any more by way of reputation than what we’ve got already—which is to say, a secure but ultimately trivial esteem. For that after all is what literature has nowadays—since the Pound/Eliot/Lawrence generation the whole business of writing has moved out to the margin of public consciousness and concern.1 There is some truth to this. After the high point of Modernism, after World War II, there was a widespread sense that literature had passed through its moment of greatness. This is not to say that nobody was writing it—there were and are plenty of books being published—but there was no agreed-upon major school of writers, or emergent major figures, that could focus the attention of the reading public. Those greats still living—Pound, Eliot, Auden, Forster—had produced their master- works already. Yeats, Joyce, and Lawrence were very much gone. Samuel Beckett was alive and well, but as far as poetry went, there were few who took direction from him (one who did, Derek Mahon, was of a younger generation still), and Davie and Tomlinson were poets first and foremost. Not only had “the whole business of writing” been eclipsed by cinema and television as far as public visibility, but its “business” aspect was often unattractive to writers who disliked going on lecture tours, giving poetry readings, and being pressed to view poetry as public performance. Yet this myth of decline also has its fantastical aspects. The Mo dernists that Davie had in mind also maneuvered themselves into the public eye, whether by befriending the right people or by providing their audi- ence with spectacular performances of their own. Poetry did not lose its public aspect during World War II: on the contrary, we currently live in an age of poetry slams, “happenings,” and technological pyro- technics that have the potential to make poetry more visible than ever 2 Introduction to the general public. On the other side of the equation, we may ask whether literature, especially literature in innovative forms, ever enjoyed a broad, general esteem, or even attention. Does Davie truly believe that “public consciousness” used to be greatly occupied with literary Modernism, and that it has now turned politely apathetic, according to literature “secure” yet trivial status? This seems all too familiarly uto- pian. Generation after generation idealizes the past as it disparages the present, and in this regard, the complaints of contemporary poets can be seen as part of a timeless and universal pattern. The excitement of the Modernist moment, though, cannot be undervalued in assessments of the later twentieth century. Whatever our current reevaluations of Modernism may teach us—such as, most ob- viously, that there was no singular Modernist moment but a wide net- work of temporal and spatial relationships that created what we call Modernism—its mystique remains stubbornly present in the minds of those born later. It may be inaccurate to accord the great achievements of Modernism to one generation, but it is not inaccurate to know that one is not of that generation, that one’s own generation has no Pounds or Eliots or Lawrences at present, and that one’s own artistic efforts are not producing such grand results. This is one source of malaise for post- war British writers, even those who do not readily ally themselves with Modernist aesthetics. For those who do, such as some of the exponents of the British Poetry Revival of the 1960s, it still remains an unfortunate fact that the explosion of avant-garde energy associated with Modern- ism was never replicated on the same scale. It is not so easy to accept the seeming fact that literature must be held separate from life, and particularly poetry, which has been far eclipsed by the novel in terms of public consumption and recognition. Of course, sales are not everything, but a consumerist society will often take them as a marker of importance. Given that importance and visibility are so often connected to relevance, we can see why poets may feel that they must insist upon it in a society that seems to assume their irrelevance. Hence, a young Tomlinson begins a book of essays by declaring that it was written “in the belief that the issues of poetry are relevant to the issues of ‘life’, and that poetry is, in the final analysis, as ‘objective’ a mode of exploration as the study of history, economics or science.”2 There is much irritation behind these scare quotes.
Load more

Recommended publications
  • New Books & Reissues
    NEW BOOKS & REISSUES September to December 2018 INFORMATION PERSONNEL Sales Manager: Office Administrator: Finance Manager: Alan Brenik Foichl Miah Wendy Saxton [email protected] [email protected] [email protected] Managing Editor: Marketing Manager: Managing Director: Luke Allan Jazmine Linklater Michael Schmidt [email protected] [email protected] [email protected] TRADE TEAM UK Sales Representatives: Compass ([email protected]) UK Distributors: NBN ([email protected]) US Distributors: IPG ([email protected]) CONTACT Carcanet Press Ltd phone: +44 (0)161 834 8730 Floor 4, Alliance House email: [email protected] 30 Cross Street online: www.carcanet.co.uk Manchester M2 7AQ To subscribe to our weekly newsletter, email [email protected]. Visit the Carcanet web store to receive a 10% discount on all of our titles. ACKNOWLEDGEMENTS Carcanet Press receives financial assistance from Arts Council England. CARCANET CLASSICS One generation’s classics look quite different from another’s. Carcanet Classics grow out of FyfieldBooks, a series launched in 1972 to fill the gaps in our library -- before e-books and on line resources papered over the library itself. Carcanet Classics give the book back its dynamic power. They make discoveries and re-discoveries. New takes on ancient texts (two Gilgameshes for example), new readings of the Latin classics, young poets advocating the work of their mentors, all have their place. Some of the books, like the new Beowulf, are vividly annotated. Others are bare and direct, pointed in our direction with a living introduction. The range is from two millennia BC to our own century, from Sumeria to Paterson, New Jersey, from ancient Greece to Anglo-Saxondom.
    [Show full text]
  • Charles Tomlinson
    Thélème. Revista Complutense de Estudios Franceses ISSN: 1139-9368 Vol. 17 (2002): 49-52 Charles Tomlinson MARGARITA ARDANAZ Universidad Complutense de Madrid Nació en 1927 en Stoke-on-Trent. B.A. por el Queen’s College de Cambridge, Po- eta viajero por Italia y EE.UU. en su juventud, formado en la escuela de la poesía ame- ricana (Marianne Moore, William Carlos Williams, T.S. Eliot, Louis Zukofsky), a la que rinde homenaje en Some Americans, A personal Record (1981). Publica poemarios en los que une a sus emociones personales, una mirada del mundo exterior, de las ciudades fantasmas desde el desierto americano a los paisajes urbanos de los Midlands. Cada particularidad es puesta de relieve con una precisión meticulosa y expresada con un lenguaje al que a veces resulta difícil de acceder, debido a los ritmos musicales y a las numerosas alusiones a la riqueza de su simbología personal. Sus aspiraciones como pintor se ven reflejadas en las cualidades visuales de sus versos. Después de haber ejer- cido su magisterio en diferentes universidades de EE.UU., en la actualidad reside en Gloucestershire (Inglaterra). Poesía: Relations and Contraries. Aaldington, Hand and Flower, 1951. The Necklace. Oxford, Fantasy Press, 1955. 2ª edición corregida: Londres, Oxford Univ. Press, 1966. Seeing Is Believing. N. York, McDowell Obolensky, 1958. Londres, Oxford Univ. Press, 1960. A Peopled Landscape. Londres, Univ. Press, 1963. Poems: A Selection. Londres, Oxford Univ. Press, 1964. American Scenes. Londres, Oxford Univ. Press, 1966. The Matachines. New Mexico, San Marcos Press, 1968. The Poem as Initiation. Hamilton, N. York, Colgate Univ. Press, 1968.
    [Show full text]
  • Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52
    Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R.
    [Show full text]
  • WILLIAM CARLOS WILLIAMS William Carlos Williams, the Collected Poems, Ed. A. Walton Litz and Christopher Macgowan
    WILLIAM CARLOS WILLIAMS William Carlos Williams, The Collected Poems, ed. A. Walton Litz and Christopher MacGowan (2 vols, Manchester, 1987-8; London, Paladin Books, 2 vols., 1991). William Carlos Williams, Paterson, ed. Christopher MacGowan (rev. ed., Manchester, 1992). William Carlos Williams, Selected Poems, ed. with Intro. by Charles Tomlinson (Harmondsworth, Middx, 1976); see also Charles Tomlinson (ed.), William Carlos Williams; A Critical Anthology (Harmondsworth, 1972). William Carlos Williams, The Normal and Adventitious Danger Periods for Pulmonary Disease in Children (originally in Archive of Pediatrics, 1913; reprinted, New York, 1988); and see Crawford (T. Hugh), Modernism, Medicine, & William Carlos Williams (Norman, Okla., c.1993). William Carlos Williams, Kora in Hell (Boston, 1920). William Carlos Williams, Spring and All ([Paris] [Dijon?], 1923). William Carlos Williams, In the American Grain (New York, 1925). William Carlos Williams, White Mule (Norfolk, Conn., 1937; London, 1965) William Carlos Williams, In the Money (Norfolk, Conn., c.1940; London, 1966). William Carlos Williams and James Laughlin, Selected Letters, ed. Hugh Witemeyer (New York & London, c.1989). William Carlos Williams, Pound/Williams; Selected Letters of Ezra Pound and William Carlos Williams, ed. Hugh Witemeyer (New York, 1996). William Carlos Williams, In the American Grain: Essays, ed. Horace Gregory (London, 1966, and reprinted). William Carlos Williams, Selected Essays (New York, 1954), esp. 'The American Background' (1934), pp. 134-61; also 'The Work of Gertrude Stein' (1931), pp. 113-20. William Carlos Williams, 'America, Whitman, and the Art of Poetry', The Poetry Journal, VIII.1 (November, 1917), 27-36, reprinted in the William Carlos Williams Review, 13.1 (1987), 1-4; see also Aji (Hélène), 'Ezra Pound and William Carlos Williams's Romantic Dilemmas: From Obliteration to 2 Remanence', Cercles, 12 (2005), 50-63.
    [Show full text]
  • Charles Tomlinson: the Way of His World Author(S): Ruth A
    Board of Regents of the University of Wisconsin System Charles Tomlinson: The Way of His World Author(s): Ruth A. Grogan Source: Contemporary Literature, Vol. 19, No. 4 (Autumn, 1978), pp. 472-496 Published by: University of Wisconsin Press Stable URL: http://www.jstor.org/stable/1208095 Accessed: 01-11-2015 11:26 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Board of Regents of the University of Wisconsin System and University of Wisconsin Press are collaborating with JSTOR to digitize, preserve and extend access to Contemporary Literature. http://www.jstor.org This content downloaded from 130.237.165.40 on Sun, 01 Nov 2015 11:26:58 UTC All use subject to JSTOR Terms and Conditions CHARLES TOMLINSON:THE WAY OF HIS WORLD Ruth A. Grogan Charles Tomlinson's remark that "the fundamentalinterests of a poet's work do not alter"l holds true of his own work, and as the volumes of poems continue to appear, it becomes evident that Relations and Contrariesthe title of his first book publishedin 1951, may some day be used for his CollectedWorks. Critics and reviewers have seen from the beginningthat his imageryand vocabularyare concerned with, to use his own phrase, "the fineness of relation- ships,"2being comprisedof bridges,windows, meetings, encounters, truces, reciprocations,and resistances.Twenty-five years after that firstvolume, however,we have come to a pointwhen the variousness, adventurousness,even deviousnessof these fine relationshipscan be analyzedand followedwith greater appreciation.
    [Show full text]
  • Entrevista a Charles Tomlinson
    E NT REVISTA A C TOMLINSO N por C.D. V»..^ HARLES JL OM —¿Podría describirnos sus comienzos como ingenuo. Sabía que era posible reproducir cuadros en pintor? los libros, ¡pero imaginaba que los cuadros que veía —Permítame empezar por el principio. Procedo en la pared eran los auténticos] Había visto en un li­ de un tipo de familias poco frecuentes. Mi abuelo pa­ bro uno de los estudios de abetos realizados por Mo- terno tuvo siete hijos, cinco de ellos hembras. Hizo net; luego descubrí que el original (o al menos eso que éstas recibieran educación, y a los varones los en­ pensé) se encontraba en el colegio de las niñas. Me vió al mundo para que se abriesen camino por sí so­ emocionaba pensar que, durante la guerra, teníamos los, cosa que resultaba bastante anticonvencional. De que compartir ese colegio con ellas, pues el nuestro este modo, mi padre llegó a proletariarizarse, se casó carecía de refugios antiaéreos: ¡tuve la suerte de exa­ con una joven asalariada y vivió en un medio donde minar el Monet con detalle! En nuestro museo local nunca se oyó hablar de arte. Todos los años regresá­ había un Wyndham Lewis realmente auténtico —un bamos en verano a la casa de mi abuelo. Era emplea­ retrato de Stephen Spender—, además de un Lowry, do de una compañía de seguros y coleccionaba un Epstein y algún que otro moderno más. Nuestro cuadros con cierto aire de modestia, pequeños óleos profesor de alemán, cjue había abandonado Alema­ del siglo diecinueve, muy buenos, uno de los cuales nia justo a tiempo en 1939, tenía libros de Van Gogh, guardo aún; al parecer, se trata de una ilustración a de grabados en madera de Masreel, además de dis­ Scott, con dos guerreros, un cruzado y un sarraceno, cos de Bruckner y del grupo berlinés de Brecht con en plena lid —una especie de «sub-Delacroix», pero interpretación de fragmentos de la Dreigroschenoper sutilmente pintado, foco activo de color en la pared.
    [Show full text]
  • Charles Tomlinson at Brook Cottage
    Charles Tomlinson At Brook Cottage INTERVIEW BY JULIAN STANNARD Searching my verse, to read what I’d once said, It was the names on names of friends I read And yours in every book, that made me see How love and friendship nurture poetry. – ‘A Backward Glance’ he weather forecast less than promising, we set off in the midst of the summer’s floods for Gloucestershire. Charles and Brenda Tomlinson Thave lived in their isolated cottage in the west of the county for half a century. Tomlinson, who was eighty in January, is now Emeritus Professor at the University of Bristol. The most recent of his many collections is Cracks In The Universe (2006). He last gave an interview in 1999, to Willard Spiegelman from The Paris Review: Spiegelman was astonished by the remoteness of the setting, its Englishness, and the fact that there wasn’t a telephone in the house. For some years Charles Tomlinson has been battling with failing sight, having suffered an ill-fated operation in the 1990s. Brenda has, to some extent, become his eyes. She cooked a wonderful lunch; later, we sat in the garden and drank tea. The sun shone. For almost an hour, it was summer. I’d like to start by asking about Donald Davie, who was a great champion of your work. I’m thinking of his ‘Some Shires Revisited’ which ends “Your love of our country has not been returned, and won’t be.” In the last few years there have been several critical appraisals of your work. Late and timely recognition? CT: As you’ve mentioned Donald Davie, I have to say that it was Donald who saved my bacon at Cambridge.
    [Show full text]
  • The Critical Study CHARLES TOMLINSON: POET OF
    University of South Wales 2053096 The Critical Study CHARLES TOMLINSON: POET OF ENCOUNTER by Alex Smith Submitted for the degree of M Phil Portfolio in Writing School of Humanities and Social Sciences University of Glamorgan Tutor: Matthew Francis May 2001 (Length: 11,590 words) CHARLES TOMLINSON: POET OF ENCOUNTER 1. Introduction - the discovery of Tomlinson's poetry I first discovered Charles Tomlinson's poetry in 1970 when reading the volumes A Peopled Landscape and The Way of a World. 1 To one whose reading of contemporary poetry had centred on Robert Lowell, Sylvia Plath and Ted Hughes, the poems contained in these books came as something of a surprise. They had a coolness and objectivity about them - the poet was allowing natural phenomena and objects their own ground, their own right of being, as it were. I noticed, too, how the poems frequently concentrated on relationships between phenomena and how those relationships changed with the shifting light, took on a new appearance: 'an undulation of aspens along the slope / Is turning the wind to water and to light'.2 Paradoxically, the shifting, changing world of phenomena that surrounds us is the only constant. In observing the world this way, the poet was free from the impositions of the dominating self. There was no thrusting forward of the poet, no 'see here' or 'this is what I felt'. In these two volumes I had discovered a poet of encounter. Tomlinson's work does not explore his personal life - he does not place himself at the centre of his poetic universe. Preferring to engage the world about him, he explores its multifarious forms and shows us what it is like to encounter the world free of solipsism.
    [Show full text]
  • A Mercia of the Mind. Geoffrey Hill`S Merican Hymns and the Poetical
    Regionalität, Nationalität und Internationalität Erträge des Siebten Blaubeurer Symposions Herausgegeben von Lothar Fietz, Paul Hoffmann und Hans-Werner Ludwig 416 142 851 900 10 8 92-11082 Attempto Verlag Tübingen CIP-Titelaufnahme der Deutschen Bibliothek Regionalität, Nationalität und Internationalst in der zeitgenössischen Lyrik : Erträge des Siebten Blaubeurer Symposions / hrsg. von Lothar Fietz ... — Tübingen : Attempto-Verl., 1992 (Blaubeurer Symposien) ISBN 3-89308-151-8 NE: Fietz, Lothar [Hrsg.]; Blaubeurer Symposion <07, 1990> Universitäts- Bibliothek München ISBN 3-89308-151-8 Ln. © Attempto Verlag Tübingen GmbH Satz: Klaus Meyer, Tübingen Druck: Guide-Druck GmbH, Tübingen Printed in Germany Inhalt Vorwort IX Einleitung 1 Grundlegung LOTHAR FIETZ / TÜBINGEN Topos / Locus / Place: The Rhetoric, Poetics and Politics of Place, 1500-1800 13 HANS-WERNER LUDWIG / TÜBINGEN Province and Metropolis; Centre and Periphery: Some Critical Terms Re-examined 28 HANS ULRICH SEEBER / STUTTGART The Homeless Mind and the Rhetoric of Separation : Comments on the Poetry of Edward Thomas 49 CHRISTOPHER HARVIE/TÜBINGEN British Perspectives on European Regionalism 66 BERNHARD GREINER / TÜBINGEN Repräsentation und Dezentrierung: Aspekte des Regionalismus in der deutschen literarischen Tradition. Ein Versuch 83 PAUL HOFFMANN /TÜBINGEN >Regionalismus< und Weltsprache der Poesie< in der deutschen Gegenwartslyrik 94 VI Inhalt Studien zur zeitgenössischen englischsprachigen Lyrik CAIRNS CRAIG / EDINBURGH (SCOTLAND) Being Between: The Creative Value of Dissociated
    [Show full text]
  • Lecturas / Lectures De Renga
    Lecturas / Lectures de Renga Edición / Edition de Eduardo Ramos-Izquierdo Paul-Henri Giraud Comité scientifique : Juan Manuel Bonet, Instituto Cervantes Rosalba Campra, Università degli Studi di Roma “La Sapienza” Vicente Quirarte, UNAM Rocío Oviedo Pérez de Tudela, Universidad Complutense de Madrid Illustration de couverture : Gerardo Centenera Maquette : Gerardo Centenera et Jérôme Dulou. Mise en pages : Claudia Chantaca et Sofía Mateos En application des articles L. 122-10 à L. 122-12 du code de la propriété intellectuelle, toute reproduction à usage collectif par photocopie, intégralement ou partiellement, du présent ouvrage est interdite sans autorisation du Centre français d’exploitation du droit de copie (CFC, 20 rue des Grands-Augustins, 75006 Paris). Toute autre forme de reproduction, intégrale ou partielle, est également interdite sans autorisation de l’éditeur. Droits réservés. © 2017, Eduardo Ramos-Izquierdo ISSN : 2605-8723 2 In Memoriam Ramón Xirau Joaquín Xirau Icaza Saúl Yurkievich Índice / Table des matières En el umbral de / Au seuil de 7 Voz de autor / Voix d’auteur 17 Renga-Paz Jacques Roubaud 19 Trazas de tradiciones / Traces de traditions 27 Renga en la tradición del texto colectivo Andrés Sánchez Robayna 29 “Convergentes transparencias... ” : Renga à la lumière de la tradition européenne du poème plurilingue Roland Béhar 41 Un renga jamais n’abolira l’auteur Fabienne Bradu 59 Contornos : poética y combinatoria / Contours : poétique et combinatoire 67 Sincronía y diacronía en Renga: el centro móvil Elsa Cross 69 La poétique dans Renga : quatre voix et leurs intonations Marie-Claire Zimmermann 77 Renga: de la combinatoria al sentido poético Eduardo Ramos-Izquierdo 95 Ecos / Échos : Roubaud, Sanguineti, Tomlinson 129 « Car la pierre peut-être est une vigne » : stylistique de Renga Mònica Güell 131 5 Tra arte combinatoria e travestimento.
    [Show full text]
  • Carcanet Catalogue July 2018-19
    New Books 2018–2019 ZOHAR ATKINS 44 MARIUS KOCIEJOWSKI 34 ROWLAND BAGNALL 42 FRANK KUPPNER 10 EDMUND BLUNDEN 29 GABRIEL LEVIN 11 NINA BOGIN 30 JENNY LEWIS 23 ALISON BRACKENBURY 33 THOMAS MCCARTHY 41 BEVERLEY BIE BRAHIC 9 CHRIS MCCULLY 13 LUCY BURNETT 45 CHRISTINE MARENDON 6 VAHNI CAPILDEO 43 ROD MENGHAM 26 MILES CHAMPION 5 STANLEY MOSS 48 FRED D’AGUIAR 7 LEONARD NOLENS 28 JANE DRAYCOTT 21 JEREMY OVER 50 MICHAEL EDWARDS 35 WALTER PATER 15 REBECCA ELSON 17 PROPERTIUS 16 PHILIP FRENCH 24 FREDERIC RAPHAEL 8 ISABEL GALLEYMORE 38 ARTHUR RIMBAUD 19 PERE GIMFERRER 39 GEORGE SEFERIS 20 REBECCA GOSS 40 PHILIP TERRY 22 JOHN GREENING 46 CHARLES TOMLINSON 27 MARILYN HACKER 36 HELEN TOOKEY 49 JOHN HEATH-STUBBS 14 CHRIS WALLACE-CRABBE 12 A. C. JACOBS 25 JOHN WILKINSON 32 FAWZI KARIM 31 WILLIAM CARLOS WILLIAMS 18 LISA KELLY 47 JANE YEH 37 LETTER FROM THE EDITOR ‘What is a classic?’ Sainte-Beuve asked this ‘delicate question’ and answered with piety: it is a work which ‘reconciles us with mankind and with ourselves’. T.S. Eliot, answering the same question in 1944, as World War II was ending, talks about ‘maturity’ and raises Virgil onto a tremendous pedestal, observable from every latitude. His was a doomed attempt to revive in cultural terms a vision of a single-hearted Europe, and a Christian Europe at that. J.M. Coetzee is just one of the many critics to shoot Eliot down for what is not his best essay, though its nostalgia has a kind of resonance. Carcanet is busy re-inventing its Classics list.
    [Show full text]
  • Charles Tomlinson and American Modernism
    ALAN YOUNG 67 Rooted horizon: Charles Tomlinson and American modernism Two recently-published books by Charles Tomlinson - Some Americans and The Flood* - enhance his already considerable status as a writer. The first, a readable, short yet richly-detailed prose account of the contributions made by some modem American poets and a painter to the growth of his art, is invaluable for several reasons. Not only does the book throw much light on Tomlinson’s own debts to the legacy of Ezra Pound and other Americans influenced by il migliorfabbro, it gives readers over here fascinating vignettes of major figures in American art of this century. Wallace Stevens, William Carlos Williams, Yvor Winters, Marianne Moore, George Oppen, Louis Zukofsky, the painter Georgia OKeeffe, and Ezra Pound himself - all these heroes and heroines of American modernism are vividly and variously portrayed at first hand. They are shown in spirited struggle against artistic isolation (even in the United States) and philistinism (everywhere), involved in all-too-human misunderstanding, as well as suffering frcm the ills which come with old age. Tomlinson’s record of encounters with American art and artists shows too how one English poet found that he could make use of their discoveries without any threat to his own identity or, indeed, his Englishness. Confirmation of this comes in the second book, The Flood, Tomlinson’s latest volume of poems, which confidently achieves assimilation of some characteristics and qualities of American literary modernism to help shape a distinctively personal yet essentially English voice and vision. The opening chapter of Some Americans tells how a boy from the North Midlands, going up to Cambridge in 1945 to read English, found gradually that a few poems, stanzas and lines from modem American verse carried haunting messages for him.
    [Show full text]