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"This is a collection of extraordinary personalities captured on film in Williams's revealing, unpretentious casually evocative photographs, and decoded through Williams's intimate, often hilarious, extended captions and essays."--BOOK JACKET.
This pioneering study did much to rehabilitate Ezra Pound's reputation after a long period of critical hostility and neglect. Published in 1951, it was the first comprehensive examination of the Cantos and other major works that would strongly influence the course of contemporary poetry.
Jonathan Williams’ work of more than half a century is such that no one activity or identity takes primacy over any other—he was the seminal small press publisher of The Jargon Society; a poet of considerable stature; book designer; editor; photographer; legendary correspondent; literary, art, and photography critic and collector; early collector and proselytizer of visionary folk art; cultural anthropologist and Juvenalian critic; curmudgeon; happy gardener; resolute walker; and keen and adroit raconteur and gourmand. Williams’ refined decorum and speech, and his sartorial style, contrasted sharply, yet pleasingly, with his delight in the bawdy, with his incisive humor and social criticism, and his confidently experimental, masterful poems and prose. His interests raised “the common to grace,” while paying “close attention to the earthy.” At the forefront of the Modernist avant-garde—yet possessing a deep appreciation of the traditional—Williams celebrated, rescued, and preserved those things he described as, “more and more away from the High Art of the city,” settling “for what I could unearth and respect in the tall grass.” Subject to much indifference—despite being celebrated as publisher and poet—he nurtured the nascent careers of hundreds of emerging or neglected poets, writers, artists, and photographers. Recognizing this, Buckminster Fuller once called him “our Johnny Appleseed”, Guy Davenport described him as a “kind of polytechnic institute,” while Hugh Kenner hailed Jargon as “the Custodian of Snowflakes” and Williams as “the truffle-hound of American poetry.” Lesser known for his extraordinary letters and essays, and his photography and art collecting, he is never only a poet or photographer, an essayist or publisher. This book of essays, images, and shouts aims to bring new eyes and contexts to his influence and talent as poet and publisher, but also heighten appreciation for the other facets of his life and art. One might call Williams’ life a poetics of gathering, and this book a first harvest.
With friendship as an optic, the essays in this volume offer important new insights into the gender politics of the poetic avant-garde, since poetry as an institution has continued to be transformed by dramatic changes wrought by second-wave feminism, sexual liberation, and gay rights. These essays reveal the intimate social negotiations that fight, fracture, and queer the conventions of authority and community that have long constrained women poets and the gendering of poetic subjectivities. From this shared perspective, the essays collected here investigate a historically and aesthetically wide-ranging array of subjects: from Joanne Kyger and Philip Whalen's trans-Pacific friendship, to Patti Smith's grounding of her punk persona in the tension between her romantic friendships with male artists and her more professional connections to the poets of the St.
Emphasizing the interplay of aesthetic forms and religious modes, Sean Pryor's ambitious study takes up the endlessly reiterated longing for paradise that features throughout the works of W. B. Yeats and Ezra Pound. Yeats and Pound define poetry in terms of paradise and paradise in terms of poetry, Pryor suggests, and these complex interconnections fundamentally shape the development of their art. Even as he maps the shared influences and intellectual interests of Yeats and Pound, and highlights those moments when their poetic theories converge, Pryor's discussion of their poems' profound formal and conceptual differences uncovers the distinctive ways each writer imagines the divine, the good, the beautiful, or the satisfaction of desire. Throughout his study, Pryor argues that Yeats and Pound reconceive the quest for paradise as a quest for a new kind of poetry, a journey that Pryor traces by analysing unpublished manuscript drafts and newly published drafts that have received little attention. For Yeats and Pound, the journey towards a paradisal poetic becomes a never-ending quest, at once self-defeating and self-fulfilling - a formulation that has implications not only for the work of these two poets but for the study of modernist literature.
La sérénité. La paix. La tranquillité. Le souci du mouvement qui porte toute chose, quelle qu'elle soit. Voilà ce que nous dit Lazer. Voilà ce que nous dit le prophète. La sérénité, la paix, la tranquillité et le souci du mouvement qui porte toute chose quelle qu’elle soit. La sérénité, la paix, la tranquillité et le souci du mouvement qui nous porte et porte toute chose, c’est cela la poésie.
A biography on the legendary gay American composer of contemporary classical music. American composer Lou Harrison (1917–2003) is perhaps best known for challenging the traditional musical establishment along with his contemporaries and close colleagues: composers John Cage, Aaron Copland, Virgil Thomson, and Leonard Bernstein; Living Theater founder, Judith Malina; and choreographer, Merce Cunningham. Today, musicians from Bang on a Can to Björk are indebted to the cultural hybrids Harrison pioneered half a century ago. His explorations of new tonalities at a time when the rest of the avant-garde considered such interests heretical set the stage for minimalism and musical post-modernism. His propulsive rhythms and ground-breaking use of percussion have inspired choreographers from Merce Cunningham to Mark Morris, and he is considered the godfather of the so-called “world music” phenomenon that has invigorated Western music with global sounds over the past two decades. In this biography, authors Bill Alves and Brett Campbell trace Harrison’s life and career from the diverse streets of San Francisco, where he studied with music experimentalist Henry Cowell and Austrian composer Arnold Schoenberg, and where he discovered his love for all things non-traditional (Beat poetry, parties, and men); to the competitive performance industry in New York, where he subsequently launched his career as a composer, conducted Charles Ives’s Third Symphony at Carnegie Hall (winning the elder composer a Pulitzer Prize), and experienced a devastating mental breakdown; to the experimental arts institution of Black Mountain College where he was involved in the first “happenings” with Cage, Cunningham, and others; and finally, back to California, where he would become a strong voice in human rights and environmental campaigns and compose some of the most eclectic pieces of his career. “Lou Harrison’s avuncular personality and tuneful music coaxed affectionate regard from all who knew him, and that affection is evident on every page of Alves and Campbell’s new biography. Eminently readable, it puts Harrison at the center of American music: he knew everyone important and was in touch with everybody, from mentors like Henry Cowell and Arnold Schoenberg and Charles Ives and Harry Partch and Virgil Thomson to peers like John Cage to students like Janice Giteck and Paul Dresher. He was larger than life in person, and now he is larger than life in history as well.” —Kyle Gann, author of Charles Ives’s Concord: Essays After a Sonata
A History of American Poetry presents a comprehensive exploration of the development of American poetic traditions from their pre-Columbian origins to the present day. Offers a detailed and accessible account of the entire range of American poetry Situates the story of American poetry within crucial social and historical contexts, and places individual poets and poems in the relevant intertextual contexts Explores and interprets American poetry in terms of the international positioning and multicultural character of the United States Provides readers with a means to understand the individual works and personalities that helped to shape one of the most significant bodies of literature of the past few centuries
A life-enhancing tour through classic and contemporary poems that have made men cry: “The Holdens remind us that you don’t have to be an academic or a postgraduate in creative writing to be moved by verse….It’s plain fun” (The Wall Street Journal). Grown men aren’t supposed to cry…Yet in this fascinating anthology, one hundred men—distinguished in literature and film, science and architecture, theater and human rights—confess to being moved to tears by poems that continue to haunt them. Although the majority are public figures not prone to crying, here they admit to breaking down, often in words as powerful as the poems themselves. Their selections include classics by visionaries, such as Walt Whitman, W.H. Auden, and Philip Larkin, as well as modern works by masters, including Billy Collins, Seamus Heaney, Derek Walcott, and poets who span the globe from Pablo Neruda to Rabindranath Tagore. The poems chosen range from the sixteenth century to the twenty-first, with more than a dozen by women, including Mary Oliver, Elizabeth Bishop, and Gwendolyn Brooks. Their themes range from love in its many guises, through mortality and loss, to the beauty and variety of nature. All are moved to tears by the exquisite way a poet captures, in Alexander Pope’s famous phrase, “what oft was thought, but ne’er so well express’d.” From J.J. Abrams to John le Carré, Salman Rushdie to Jonathan Franzen, Daniel Radcliffe to Nick Cave to Stephen Fry, Stanley Tucci to Colin Firth to the late Christopher Hitchens, this collection delivers private insight into the souls of men whose writing, acting, and thinking are admired around the world. “Everyone who reads this collection will be roused: disturbed by the pain, exalted in the zest for joy given by poets” (Nadine Gordimer, winner of the Nobel Prize for literature).