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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.
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.
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.
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.
At last, a definitive, paperback edition of Ezra Pound's finest work.
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
Jonathan Williams’s poetry has been described as brilliant, sensuous, lyrical, quirky, suave, vital, joyful, sardonic, melodious, passionate, alive, pyrotechnic. This new, much enlarged edition of Blues and Roots displays all of the above. Williams has tramped the Appalachian Trail for decades, botanizing, jotting down specimens of authentic American speech, graffiti, superstitions, and nostrums—always curious, alert, and affectionately attentive. Blues and Roots focuses on the linguistic horizon of Appalachia in lyrics of wonder and light, of wit and comic incongruity, in found poems of the speech of his mountain neighbors. Publishers Weekly said of the earlier edition, “One of the most beautiful and evocative tributes to the Appalachians and its people yet published.” Blues and Roots is a fine celebration; Wiliams is a joyful ringmaster.
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.