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Chameleon Hours (Phoenix Poets)
by Elise PartridgeFrom Ways of Goingfor Steve Will it be like paragliding— gossamer takeoff, seedlike drifting down into a sunlit, unexpected grove? Or ski-jumping—headlong soaring, ski-tips piercing clouds, crystal revelations astonishing my goggles? . . . . Skittery flicker of a glare-weary lizard startled into the sheltering wings of a leaf, rusting freighter with a brimming hold shimmering onto a crimson edge. . . . Sad rower pushed from shore, I'll disappear like circles summoned by an oar's dip. However I burn through to the next atmosphere, let your dear face be the last thing I see. Whether writing poems about North American life and landscape; or love poems; or elegies for family and friends; or poems on serious, debilitating illness and the transformations it can effect—Elise Partridge offers in Chameleon Hours words forged by suffering and courage. Full of wit and empathy, Partridge’s poems draw inspiration from sources as whimsical as tortoises and pontoons, as poignant as a homeless woman taking shelter inside a post office on a winter night, and as deeply personal as her own cancer diagnosis at a young age. Chameleon Hours is a book about the rewards of being reminded of one’s own mortality and the lyric expression of life in all its intensity. “In their ample, embracing, nuanced appetite for sensory experience, [Partridge’s] poems achieve an ardent, compassionate and unsentimental vision.”—Robert Pinsky, Washington Post “Partridge’s impressive poems pursue a careful thinker’s yearning for abandon, a loyal friend and partner’s wish for change. Attentive to fact, to what she sees and knows, Partridge nonetheless makes space for what is wild, outside and within us—for the fears and the blanks of chemotherapy, for sharp variations within (and without) frames of metre and rhyme, and for the welcome consistencies of married love. She has learned detail-work, and patience, from Elizabeth Bishop, but she has made other virtues her own: riffs on familiar phrases open startling vistas and even her love poems get attractively practical. Hers is a welcome invitation: let’s listen in.”—Stephen Burt “Reading Chameleon Hours, I find myself marveling at the luck of each heron, mosquito, field of Queen Anne’s Lace, each person, place, thing or circumstance in this beautiful book, to have Elise Partridge’s exquisite and precise attention. And how lucky we are to get to listen in as she offers each of them her flawless ear; the book is full of understated sonic gems like ‘a kickball straight into pink lilac.’ In ‘Chemo Side Effects: Memory,’ after describing ‘groping in the thicket’ for ‘the word I want . . . scrabbling like a squirrel on the oak’s far side,’ she tells us ‘I could always pull the gift / from the lucky-dip barrel; scoop the right jewel / from my dragon’s trove. . . .’ We of course already know this. It’s evident in every one of these poems.”—Jacqueline Osherow Praise for Fielder’s Choice “Partridge is a technical wizard for whom thinking and feeling are not separate activities. She is a hawk-like observer of the particular . . . many times ascending to pitch-perfect verse.”—Ken Babstock, Globe and Mail (Canada)
Chameleon Hours (Phoenix Poets)
by Elise PartridgeFrom Ways of Goingfor Steve Will it be like paragliding— gossamer takeoff, seedlike drifting down into a sunlit, unexpected grove? Or ski-jumping—headlong soaring, ski-tips piercing clouds, crystal revelations astonishing my goggles? . . . . Skittery flicker of a glare-weary lizard startled into the sheltering wings of a leaf, rusting freighter with a brimming hold shimmering onto a crimson edge. . . . Sad rower pushed from shore, I'll disappear like circles summoned by an oar's dip. However I burn through to the next atmosphere, let your dear face be the last thing I see. Whether writing poems about North American life and landscape; or love poems; or elegies for family and friends; or poems on serious, debilitating illness and the transformations it can effect—Elise Partridge offers in Chameleon Hours words forged by suffering and courage. Full of wit and empathy, Partridge’s poems draw inspiration from sources as whimsical as tortoises and pontoons, as poignant as a homeless woman taking shelter inside a post office on a winter night, and as deeply personal as her own cancer diagnosis at a young age. Chameleon Hours is a book about the rewards of being reminded of one’s own mortality and the lyric expression of life in all its intensity. “In their ample, embracing, nuanced appetite for sensory experience, [Partridge’s] poems achieve an ardent, compassionate and unsentimental vision.”—Robert Pinsky, Washington Post “Partridge’s impressive poems pursue a careful thinker’s yearning for abandon, a loyal friend and partner’s wish for change. Attentive to fact, to what she sees and knows, Partridge nonetheless makes space for what is wild, outside and within us—for the fears and the blanks of chemotherapy, for sharp variations within (and without) frames of metre and rhyme, and for the welcome consistencies of married love. She has learned detail-work, and patience, from Elizabeth Bishop, but she has made other virtues her own: riffs on familiar phrases open startling vistas and even her love poems get attractively practical. Hers is a welcome invitation: let’s listen in.”—Stephen Burt “Reading Chameleon Hours, I find myself marveling at the luck of each heron, mosquito, field of Queen Anne’s Lace, each person, place, thing or circumstance in this beautiful book, to have Elise Partridge’s exquisite and precise attention. And how lucky we are to get to listen in as she offers each of them her flawless ear; the book is full of understated sonic gems like ‘a kickball straight into pink lilac.’ In ‘Chemo Side Effects: Memory,’ after describing ‘groping in the thicket’ for ‘the word I want . . . scrabbling like a squirrel on the oak’s far side,’ she tells us ‘I could always pull the gift / from the lucky-dip barrel; scoop the right jewel / from my dragon’s trove. . . .’ We of course already know this. It’s evident in every one of these poems.”—Jacqueline Osherow Praise for Fielder’s Choice “Partridge is a technical wizard for whom thinking and feeling are not separate activities. She is a hawk-like observer of the particular . . . many times ascending to pitch-perfect verse.”—Ken Babstock, Globe and Mail (Canada)
Chameleon Hours (Phoenix Poets)
by Elise PartridgeFrom Ways of Goingfor Steve Will it be like paragliding— gossamer takeoff, seedlike drifting down into a sunlit, unexpected grove? Or ski-jumping—headlong soaring, ski-tips piercing clouds, crystal revelations astonishing my goggles? . . . . Skittery flicker of a glare-weary lizard startled into the sheltering wings of a leaf, rusting freighter with a brimming hold shimmering onto a crimson edge. . . . Sad rower pushed from shore, I'll disappear like circles summoned by an oar's dip. However I burn through to the next atmosphere, let your dear face be the last thing I see. Whether writing poems about North American life and landscape; or love poems; or elegies for family and friends; or poems on serious, debilitating illness and the transformations it can effect—Elise Partridge offers in Chameleon Hours words forged by suffering and courage. Full of wit and empathy, Partridge’s poems draw inspiration from sources as whimsical as tortoises and pontoons, as poignant as a homeless woman taking shelter inside a post office on a winter night, and as deeply personal as her own cancer diagnosis at a young age. Chameleon Hours is a book about the rewards of being reminded of one’s own mortality and the lyric expression of life in all its intensity. “In their ample, embracing, nuanced appetite for sensory experience, [Partridge’s] poems achieve an ardent, compassionate and unsentimental vision.”—Robert Pinsky, Washington Post “Partridge’s impressive poems pursue a careful thinker’s yearning for abandon, a loyal friend and partner’s wish for change. Attentive to fact, to what she sees and knows, Partridge nonetheless makes space for what is wild, outside and within us—for the fears and the blanks of chemotherapy, for sharp variations within (and without) frames of metre and rhyme, and for the welcome consistencies of married love. She has learned detail-work, and patience, from Elizabeth Bishop, but she has made other virtues her own: riffs on familiar phrases open startling vistas and even her love poems get attractively practical. Hers is a welcome invitation: let’s listen in.”—Stephen Burt “Reading Chameleon Hours, I find myself marveling at the luck of each heron, mosquito, field of Queen Anne’s Lace, each person, place, thing or circumstance in this beautiful book, to have Elise Partridge’s exquisite and precise attention. And how lucky we are to get to listen in as she offers each of them her flawless ear; the book is full of understated sonic gems like ‘a kickball straight into pink lilac.’ In ‘Chemo Side Effects: Memory,’ after describing ‘groping in the thicket’ for ‘the word I want . . . scrabbling like a squirrel on the oak’s far side,’ she tells us ‘I could always pull the gift / from the lucky-dip barrel; scoop the right jewel / from my dragon’s trove. . . .’ We of course already know this. It’s evident in every one of these poems.”—Jacqueline Osherow Praise for Fielder’s Choice “Partridge is a technical wizard for whom thinking and feeling are not separate activities. She is a hawk-like observer of the particular . . . many times ascending to pitch-perfect verse.”—Ken Babstock, Globe and Mail (Canada)
The Chameleon Poet: A Life of George Barker
by Robert FraserThe poet George Barker was convinced that his biography could never be written. 'I've stirred the facts around too much,' he told Robert Fraser. 'It simply can't be done.' Eliot wrote of his 'genius'. Yeats thought him the most interesting poet of his generation. Dylan Thomas envied his power over women. War trapped him in Japan. In America he conducted one of the most celebrated love affairs of the century. He fathered fifteen children in several countries, three during one battle-torn summer. By the 1950s he was the toast of Soho. Barker was Catholic and bohemian, frank and elusive, tender and boisterous. In Eliot's phrase, he was 'a most peculiar fellow.' Robert Fraser's biography offers both a portrait of a talented, tormented and irresistibly entertaining man, and a broad cultural landscape. Around the central figure cluster painters like Francis Bacon, Lucian Freud, Johnny Minton and the 'Roberts' Colquhoun and MacBryde; writers such as Dylan Thomas, Walter de la Mare and Elizabeth Smart, whose By Grand Central Station I Sat Down and Wept hymns their liaison; the lugubrious humorist Jeffrey Bernard. After closing time at the Colony Room, Minton declared, they had to sweep up the jokes.
A Change Is Gonna Come
by Various AuthorsFeaturing top Young Adult authors and introducing a host of exciting new voices, this anthology of stories and poetry from BAME writers on the theme of change is a long-overdue addition to the YA scene. Contributors include Tanya Byrne, Inua Ellams, Catherine Johnson, Patrice Lawrence, Ayisha Malik, Irfan Master, Musa Okwonga and Nikesh Shukla. Plus introducing four fresh new voices in YA fiction: Mary Bello, Aisha Bushby, Yasmin Rahman and Phoebe Roy.
Change Sings: A Children's Anthem
by Amanda GormanA lyrical picture book debut from presidential inaugural poet Amanda Gorman and No.1 New York Times bestselling illustrator Loren Long"I can hear change hummingIn its loudest, proudest song.I don't fear change coming,And so I sing along."In this stirring, much-anticipated picture book by presidential inaugural poet and activist Amanda Gorman, anything is possible when our voices join together. As a young girl leads a cast of characters on a musical journey, they learn that they have the power to make changes - big or small - in the world, in their communities, and in most importantly, in themselves. With lyrical text and rhythmic illustrations that build to a dazzling crescendo by No.1 New York Times bestselling illustrator Loren Long, Change Sings is a triumphant call to action for everyone to use their abilities to make a difference.
Changing Destiny (Modern Plays)
by Ben OkriTwo actors, a thousand characters, and the story of how a kingdom is changed… An epic new adaptation of the 4,000-year-old Egyptian poem about the Warrior King, Sinuhe written by Booker Prize-winner Ben Okri that captures the essence of humanity and the complexities of immigration. This edition of Changing Destiny is published to coincide with the world premiere performance at London's Young Vic Theatre, directed by Young Vic Artistic Director Kwame Kwei-Armah.
Changing Destiny (Modern Plays)
by Ben OkriTwo actors, a thousand characters, and the story of how a kingdom is changed… An epic new adaptation of the 4,000-year-old Egyptian poem about the Warrior King, Sinuhe written by Booker Prize-winner Ben Okri that captures the essence of humanity and the complexities of immigration. This edition of Changing Destiny is published to coincide with the world premiere performance at London's Young Vic Theatre, directed by Young Vic Artistic Director Kwame Kwei-Armah.
Changing Subjects: Digressions in Modern American Poetry
by Srikanth ReddyTheoretical accounts of modern American poetry often regard literary texts as the expression of a subjectivity irremediably fractured by the dividing practices of power. In Changing Subjects, Srikanth Reddy seeks to redress our critical bias toward a fatalistic poetics of rupture and fragmentation by foregrounding a fluent tradition of writers from Walt Whitman to John Ashbery who explore digression, rather than disjunction, as a rhetorical strategy for the making of modern poetry. Mapping the ramifying topography of literary digression, Changing Subjects offers a wide-ranging anatomy of "the excursus" within twentieth-century American poetics. Moving from aesthetics to the archive to narratology to figures of identity, Reddy considers various spheres in which American writers revisit and revise our models of purposeful discourse by cultivating a poetics of digression in modern literature. In new readings of authors such as Wallace Stevens, Marianne Moore, Frank O'Hara, and Lyn Hejinian, this study proposes that "changing the subject" offers a digressive method for negotiating the vexing complexities of art, knowledge, history, and subjectivity under the curious conditions of modernity. The book concludes with a survey of "Elliptical" strategies employed by a new generation of poets, writing in the wake of John Ashbery's aleatory craft, who seek to extend the digressive project of American poetry into the twenty-first century.
Chapman's Homer: The Iliad (Bollingen Series #673)
by HomerGeorge Chapman's translations of Homer are the most famous in the English language. Keats immortalized the work of the Renaissance dramatist and poet in the sonnet "On First Looking into Chapman's Homer." Swinburne praised the translations for their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." The great critic George Saintsbury (1845-1933) wrote: "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what Greek was. Chapman is far nearer Homer than any modern translator in any modern language." This volume presents the original (1611) text of Chapman's translation of the Iliad, making only a small number of modifications to punctuation and wording where they might confuse the modern reader. The editor, Allardyce Nicoll, provides an introduction and a glossary. Garry Wills contributes a preface, in which he explains how Chapman tapped into the poetic consonance between the semi-divine heroism of the Iliad's warriors and the cosmological symbols of Renaissance humanism.
Chapman's Homer: The Odyssey (Bollingen Series #674)
by HomerGeorge Chapman's translations of Homer are among the most famous in the English language. Keats immortalized the work of the Renaissance dramatist and poet in the sonnet "On First Looking into Chapman's Homer." Swinburne praised the translations for their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." The great critic George Saintsbury (1845-1933) wrote: "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what Greek was. Chapman is far nearer Homer than any modern translator in any modern language." This volume presents the original text of Chapman's translation of the Odyssey (1614-15), making only a small number of modifications to punctuation and wording where they might confuse the modern reader. The editor, Allardyce Nicoll, provides an introduction, textual notes, a glossary, and a commentary. Garry Wills's preface to the Odyssey explores how Chapman's less strained meter lets him achieve more delicate poetic effects as compared to the Iliad. Wills also examines Chapman's "fine touch" in translating "the warm and human sense of comedy" in the Odyssey. Oft of one wide expanse had I been toldThat deep-browed Homer ruled as his demesne;Yet did I never breathe its pure sereneTill I heard Chapman speak out loud and bold.--John Keats
Chapman's Homer: The Odyssey (pdf)
by Homer Allardyce Nicoll George Chapman Garry WillsGeorge Chapman's translations of Homer are among the most famous in the English language. Keats immortalized the work of the Renaissance dramatist and poet in the sonnet "On First Looking into Chapman's Homer." Swinburne praised the translations for their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." The great critic George Saintsbury (1845-1933) wrote: "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what Greek was. Chapman is far nearer Homer than any modern translator in any modern language." This volume presents the original text of Chapman's translation of the Odyssey (1614-15), making only a small number of modifications to punctuation and wording where they might confuse the modern reader. The editor, Allardyce Nicoll, provides an introduction, textual notes, a glossary, and a commentary. Garry Wills's preface to the Odyssey explores how Chapman's less strained meter lets him achieve more delicate poetic effects as compared to the Iliad. Wills also examines Chapman's "fine touch" in translating "the warm and human sense of comedy" in the Odyssey. Oft of one wide expanse had I been toldThat deep-browed Homer ruled as his demesne;Yet did I never breathe its pure sereneTill I heard Chapman speak out loud and bold.--John Keats Review: In Chapman's "Whole Works of Homer" . . . English is spendthrift, inebriate with waste motion, at times precious and as yet uncertain of its coruscating force. It is also the language of Elizabethan and Jacobean drama, charged with sensory, corporeal thrust. At moments, it is already exact in that manual, pragmatic vein which is the virtue of English. At others, it comes armed with lyric sorrow. Homer, as Chapman construes him . . . makes the English language know itself and impels it to cast its lexical-grammatical net over a thronging prodigality of life.--George Steiner "Homer in English "
Chapman's Homeric Hymns and Other Homerica (Bollingen Series (General) #169)
by HomerGeorge Chapman's translations of Homer--immortalized by Keats's sonnet-- are the most famous in the English language. Swinburne praised their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." And the great critic George Saintsbury wrote, "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what the Greek was. Chapman is far nearer Homer than any modern translator in any modern language." This volume presents the original text of Chapman's translation of the Homeric hymns. The hymns, believed to have been written not by Homer himself but by followers who emulated his style, are poems written to the gods and goddesses of the ancient Greek pantheon. The collection, originally titled by Chapman "The Crowne of all Homers Workes," also includes epigrams and poems attributed to Homer and known as "The Lesser Homerica," as well as his famous "The Battle of Frogs and Mice."
Chapters into Verse: Volume 1: Genesis to Malachi
For generations, poets have turned to the Bible for insight and inspiration. What did so many creative minds find in scripture? Is the Bible still a vital source of poetic inspirations? Chapters Into Verse is the first comprehensive collection ever made of poems written in English inspired by the Bible. A groundbreaking anthology, it introduces readers to a distinct heritage of English poetry: the scriptural tradition. Though frequently ignored and sometimes suppressed, this tradition rivals the classical and is every bit as venerable. Drawing a unique map of the history of English poetry, the two volumes of Chapters Into Verse survey and define the literary legacy of the Scriptures from the fourteenth century to the present. Each volume is arranged in scriptural order, and each poem is preceded by the biblical passage that inspired it. Thus readers can conveniently witness the various ways sacred text has sparked the imagination of poets throughout the ages. In Volume I, which covers Genesis to Malachi, almost every book of the Old Testament is represented. The collection features verses both famous and unfamiliar, from Milton's Paradise Lost and Lord Byron's Hebrew Melodies to Christopher Smart's hymns and Mary Herbert's psalms. The editors have included poems by virtually all the prominent religious poets--among them, John Donne, George Herbert, Henry Vaughan, Edward Taylor, and Gerard Manley Hopkins. Included, too, are devotional and visionary works from a wide range of vintage poets--Robert Burns, William Blake, Walt Whitman, Emily Dickinson, Christina Rossetti, Alfred Tennyson, and Robert Browning. Proving that the Bible is just as powerful a source of inspiration today as it was in the past, the collection assembles a mixed congregation of modern and contemporary poets, such as Marianne Moore, Delmore Schwartz, Dylan Thomas, Robert Frost, William Carlos Williams, Countee Cullen, e.e. cummings, William Butler Yeats, Robert Lowell, Hugh McDiarmid, Laura (Riding) Jackson, Charles Reznikoff, A.D. Hope, Geoffrey Hill, Denise Levertov, Philip Levine, John Ashbery, and Derek Walcott. Of enduring interest to readers of both scripture and literature, this anthology illuminates key passages of the Old Testament. The measured speech and inspired leaps of poetry offer a spirited alternative to the textual exegesis usually supplied by prose commentary. As such, Chapters Into Verse is truly a poets' Bible. In selection after selection, readers will encounter an astonishing variety of religious experiences, as a host of poets from many eras and many backgrounds respond to Holy Scripture spiritually, profoundly, and imaginatively.
The Character of the Poet: Wordsworth in "The Prelude"
by Richard J. OnoratoBy a judicious use of psychoanalytic concepts, Richard Onorato interprets the Wordsworth revealed in the poem The Prelude and relates the problems of poetic autobiography to those of personality.Originally published in 1971.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Charles Bukowski, King of the Underground: From Obscurity to Literary Icon (American Literature Readings in the 21st Century)
by A. DebrittoThis critical study of the literary magazines, underground newspapers, and small press publications that had an impact on Charles Bukowski's early career, draws on archives, privately held unpublished Bukowski work, and interviews to shed new light on the ways in which Bukowski became an icon in the alternative literary scene in the 1960s.
Charles Darwin and the Church of Wordsworth (Oxford English Monographs)
by Robert M. RyanCharles Darwin and the Church of William Wordsworth is a study of the cultural connections between two of the nineteenth century's most influential figures, Charles Darwin and William Wordsworth. When Darwin presented On the Origin of Species, his reading public's affective response to the natural world had already been profoundly influenced by William Wordsworth. Wordsworth presented nature as benign, harmonious, a source of moral inspiration and spiritual blessing, and a medium through which one might enter into communion with the Divine. Long after his death, he continued to be revered throughout the English-speaking world, not only as a great poet, but as a theologian with a broader following than any prelate and an appeal that transcended or ignored sectarian differences. For believers and sceptics alike, Wordsworth's poetry offered a readily accessible and intellectually respectable counterweight to Darwin's vision of a material universe evolving by fixed laws in which Divinity played no discernible role and where concepts like beauty and harmony were material conditions to be explained in scientific terms. Wordsworth's theology of nature became for many readers a more effective counterforce to Darwin's ideas than Biblical orthodoxy, but it also provided an enriching context for the reception of evolutionary theory, aiding theists in their effort to reach an accommodation with the new science. As the nineteenth century's two most prominent theoreticians of nature's life, Wordsworth and Darwin competed for attention among those seeking to understand humanity's relationship with the natural world, and their disciples engaged in a productive, mutually transformative dialogue in which the poet's cultural authority influenced the way Darwin was received, and Darwinian science adjusted interpretation and evaluation of the poetry. Charles Darwin and the Church of William Wordsworth explores the broad cultural relationship between Wordsworth, Darwin, and their disciples, contextualising them within wider discussions about the relationship between religion and science in the nineteenth century.
Charles Henri Ford: Between Modernism and Postmodernism (Historicizing Modernism)
by Alexander HowardThe first American surrealist poet, a prolific literary editor and a seminal influence on the New York School of poetry, Charles Henri Ford was a key figure in the transition from late modernist to postmodern culture in America. Charles Henri Ford: Between Modernism and Postmodernism is the first book-length scholarly study of this important literary figure. Drawing on new archival research – including explorations of Ford's correspondence with the likes of Ezra Pound, Gertrude Stein, William Carlos Williams, Parker Tyler, and many others – the book explores the full impact of Ford's contribution to 20th-century American literary culture.
Charles Henri Ford: Between Modernism and Postmodernism (Historicizing Modernism)
by Dr Alexander HowardThe first American surrealist poet, a prolific literary editor and a seminal influence on the New York School of poetry, Charles Henri Ford was a key figure in the transition from late modernist to postmodern culture in America. Charles Henri Ford: Between Modernism and Postmodernism is the first book-length scholarly study of this important literary figure. Drawing on new archival research – including explorations of Ford's correspondence with the likes of Ezra Pound, Gertrude Stein, William Carlos Williams, Parker Tyler, and many others – the book explores the full impact of Ford's contribution to 20th-century American literary culture.
Charles Lamb, Coleridge and Wordsworth: Reading Friendship in the 1790s
by Felicity JamesThis book makes the case for a re-placing of Lamb as reader, writer and friend in the midst of the lively political and literary scene of the 1790s. Reading his little-known early works alongside others by the likes of Coleridge and Wordsworth, it allows a revealing insight into the creative dynamics of early Romanticism.
Charles Olson and American Modernism: The Practice of the Self (Oxford English Monographs)
by Mark ByersThis volume situates the work of American poet Charles Olson (1910-1970) at the centre of the early post-war American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson's work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson's published and unpublished writings to establish an original account of early post-war American modernism. The development of Olson's work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage, Charles Olson and American Modernism offers a new reading of a major American poet and an original account of the emergence of post-war American modernism.
Charles Olson and American Modernism: The Practice of the Self (Oxford English Monographs)
by Mark ByersThis volume situates the work of American poet Charles Olson (1910-1970) at the centre of the early post-war American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson's work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson's published and unpublished writings to establish an original account of early post-war American modernism. The development of Olson's work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage, Charles Olson and American Modernism offers a new reading of a major American poet and an original account of the emergence of post-war American modernism.
Charlestown Blues: Selected Poems, a Bilingual Edition
by Guy GoffetteLetter to the unknown woman across the street, ICurtains, blinds, draperies, shades, no, nothing Madame, to conceal from your Cyclops’ eye in the shadows from which it spies on me this long pale body, false corpse tired out with debauchery, which is swooning too before your balcony, with your drying stockings and scanties of a nun at bay— poisonous flowers for a lonely man whom death panics, draws erect, demarrows in the night, riveted to your white thighs. Readers who denounce most contemporary French poetry as self-referential experimentation, word games, exercises in deconstruction, or other kinds of incomprehensible writing disconnected from everyday life—brace yourselves for a revelation. Erotic and urbane, distinguished by formal skill yet marked by the subtlest shades of feeling, Guy Goffette’s unabashedly lyrical poems pay homage to both Verlaine and Rimbaud, whom he counts as his important forbears, with echoes of Auden and Pound, Pavese and Borges. In Charlestown Blues, poet and translator Marilyn Hacker has chosen a tightly thematic selection of poems, all centering around the notion of “blue”—the color and the emotion, as well as that quintessentially American style of musical performance. Hacker’s crystalline and musical English renderings will show Anglophones why Goffette is considered one of the most important poets writing in French today.
Charlie McGrew & the Horse that he Drew (World Book Day 2024)
by Rob BiddulphCharlie McGrew longs for a clippety companion but the sign says NO PETS – can he draw one instead? World Book Day 2024
Charlotte Smith: Selected Poems
by Charlotte SmithThis book presents an ideal introduction to the full range of the works of Charlotte Smith, whose Romantic sensibility is an expression of a specifically female experience, from her influential sonnets and poems for children to extracts from her French Revolution poem.