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Scene-Jane's house on Gramercy Park. A living room with doors R. and L. Entrance U. R. Curtains U. C., showing an alcove which looks out on the Park. Dill, in velvet knickerbockers and jacket, is arranging service for tea. Jack, a young man of twenty, has entered. He wears green kid gloves and a green Alpine hat to match. Jack. So you're getting married, Dill? Dill. I am, sir. Have you any objections to offer? Jack. None whatever, Dill. But why tea at this hour? It's only just past lunch. Dill. It's the very latest thing, sir; all Americans are doing it now. It's to keep up with the London time, sir, and there it's tea-time already. (Examines a crumpled manuscript with his back to Jack.)
"Anthology of Magazine Verse for 1914" by Bliss Carman, John Erskine, Oliver Herford, Louis Untermeyer, Sara Teasdale, Laura Campbell, Lydia Gibson. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
"English literature," Yeats once noted, "has all but completely shaped itself in the printing press." Finding this true particularly of modernist writing, Jerome McGann demonstrates the extraordinary degree to which modernist styles are related to graphic and typographic design, to printed letters--"black riders" on a blank page--that create language for the eye. He sketches the relation of modernist writing to key developments in book design, beginning with the nineteenth-century renaissance of printing, and demonstrates the continued interest of postmodern writers in the "visible language" of modernism. McGann then offers a philosophical investigation into the relation of knowledge and truth to this kind of imaginative writing. Exploring the work of writers like William Morris, Emily Dickinson, W. B. Yeats, Ezra Pound, and Gertrude Stein, as well as Laura Riding and Bob Brown, he shows how each exploits the visibilities of language, often by aligning their work with older traditions of so-called Adamic language. McGann argues that in modernist writing, philosophical nominalism emerges as a key aesthetic point of departure. Such writing thus develops a pragmatic and performative "answer to Plato" in the matter of poetry's relation to truth and philosophy.