Literary studies: poetry and poets Books

Book SynopsisThis book is a dream, a revivalist campaign, a challenge, a book of days, and an anthology, all in one. -- The Guardian This perfect bedside book offers the easiest way to fill your life with more poetry, every day of the year Poems are meant to be voiced, and Poem a Day includes 366 poems old and new -- one for each day of the year -- worth learning by heart. It contains many of the most beloved poems and others that will come as a surprise. Only two criteria were demanded of each poem for inclusion in this collection -- it had to be short enough to learn in a day, and good enough to stand among the great poetry of the English language, from Chaucer to Sylvia Plath. By prominently noting each poem’s corresponding month and day at the top of each page, the book functions like a calendar, providing a handy feature for keeping on schedule in your reading and for getting caught up when you fall behind. Even more delightful, this handy dating makes it the perfect book to share and discuss with friends near and far. Poem a Day is truly a beautiful poetry collection from the past poets to the present. The book provides:       -- a great introduction to poetry and poets        -- a diverse range of poets and styles        -- a short bio of each author at the bottom of the page, which makes reading the poem more meaningful

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Book SynopsisThe five interviews in this book were conducted by students in “The Art of Poetry,” a course that Harry Thomas taught for several years. The students’ depth of knowledge and keenness of insight into the poets’ work is an affirmation of American education. The poets respond to the students with a frankness and feeling of fraternity that mounts at times to a sort of communion.The poets take up a great range of matters in the interviews the nature of artistic creation, the varieties and difficulties of poetic translation, poetry and politics, religion, popular culture, the contemporary readership for poetry, and the experience of living as a poet in a country not your own. They speak with familiarity and enthusiasm of a number of writers, including Eliot, Joyce, Rilke, Brodsky, Pound, Ovid, Dante, Ralegh, Wordsworth, Keats, Mandelstam, and Wilde. One of the delights of reading these interviews is to observe the poets responding to the same matter for instance, Seamus Heaney speaking of Robert Pinsky’s translation of Czeslaw Milosz’s great poem, “The World,” and Robert Pinsky speaking at length of Seamus Heaney’s essay, in The Government of the Tongue, on Pinsky’s translation. This is an intimate look into the minds of five of our most celebrated contemporary poets and an invigorating meditation on some of our most human concerns.

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Book SynopsisIn this stimulating and innovative synthesis of New York’s artistic and literary worlds, Lytle Shaw uses the social and philosophical problems involved in “reading” a coterie to propose a new language for understanding the poet, art critic, and Museum of Modern Art curator Frank O’Hara (1926-1966).O’Hara’s poems are famously filled with proper names—from those of his immediate friends and colleagues in the New York writing and art worlds (John Ashbery, Kenneth Koch, Grace Hartigan, Willem de Kooning, and many musicians, dancers, and filmmakers) to a broad range of popular cultural and literary heroes (Apollinaire to Jackie O). But rather than understand O’Hara’s most commonly referenced names as a fixed and insular audience, Shaw argues that he uses the ambiguities of reference associated with the names to invent a fluid and shifting kinship structure—one that opened up radical possibilities for a gay writer operating outside the structure of the family.As Shaw demonstrates, this commitment to an experimental model of association also guides O’Hara’s art writing. Like his poetry, O’Hara’s art writing too has been condemned as insular, coterie writing. In fact, though, he was alone among 1950s critics in his willingness to consider abstract expressionism not only within the dominant languages of existentialism and formalism but also within the cold war political and popular cultural frameworks that anticipate many of the concerns of contemporary art historians. Situating O’Hara within a range of debates about art’s possible relations to its audience, Shaw demonstrates that his interest in coterie is less a symptomatic offshoot of his biography than a radical literary and artistic invention.

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Book SynopsisHow to Live, What to Do is an indispensable introduction to and guide through the work of a poet equal in power and sensibility to Shakespeare and Milton. Like them, Stevens shaped a new language, fashioning an instrument adequate to describing a completely changed environment of fact, extending perception through his poems to align what Emerson called our “axis of vision” with the universe as it came to be understood during his lifetime, 1879–1955, a span shared with Albert Einstein. Projecting his own imagination into spacetime as “a priest of the invisible,” persistently cultivating his cosmic consciousness through reading, keeping abreast of the latest discoveries of Einstein, Max Planck, Niels Bohr, Louis de Broglie, and others, Stevens pushed the boundaries of language into the exotic territories of relativity and quantum mechanics while at the same time honoring the continuing human need for belief in some larger order. His work records how to live, what to do in this strange new world of experience, seeing what was always seen but never seen before. Joan Richardson, author of the standard two-volume critical biography of Stevens and coeditor with Frank Kermode of the Library of America edition of the Collected Poetry and Prose, offers concise, lucid captures of Stevens’s development and achievement. Over the ten years of researching her Stevens biography, Richardson read all that he read, as well as his complete correspondence, journals, and notebooks. She weaves the details drawn from this deep involvement into the background of American cultural history of the period. This fabric is further enlivened by her preparation in philosophy and the sciences, creating in these thirteen panels a contemporary version of a medieval tapestry sequence, with Stevens in the place of the unicorn, as it were, holding our attention and eliciting, as necessary angel, individual solutions to the riddles of our existence on this planet spinning and hissing around its cooling star at 18.5 miles per second.

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Book SynopsisFocusing on contemporary issues, this text showcases a large collection of regional poets laureate writing on subjects critical to understanding social justice as it relates to the Great Lakes region.Undocumented: Great Lakes Poets Laureate on Social Justice includes writing by seventy-eight poets who truly represent the diversity of the Great Lakes region, including Rita Dove, Marvin Bell, Crystal Valentine, Kimberly Blaeser, Mary Weems, Karen Kovacik, Wendy Vardaman, Zora Howard, Carla Christopher, Meredith Holmes, Karla Huston, Joyce Sutphen, and Laren McClung, among others.City, state, and national poets laureate with ties to Illinois, Indiana, Michigan, Minnesota, New York, Ohio, Ontario, Pennsylvania, and Wisconsin appear in these pages, organized around themes from the Southern Poverty Law Center’s “Ten Ways to Fight Hate: A Community Response Guide”, calling on readers to act on behalf of victims of social injustice.

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Book SynopsisBorn into a family of attorneys, Dickinson absorbed law at home. She employed legal terms and concepts regularly in her writings, and her metaphors grounded in law derive much of their expressive power from a comparatively sophisticated lay knowledge of the various legal and political issues that were roiling nineteenth-century America. Dickinson displays interest in such areas as criminal law, contracts, equity, property, estate law, and bankruptcy. She also held in high regard the role of law in resolving disputes and maintaining civic order. Toward the end of her life, Dickinson cited the Spartans’ defense at Thermopylae as an object lesson demonstrating why societies should uphold the rule of law.Yet Dickinson was also capable of criticizing, even satirizing, law and lawyers. Her poetic personae inhabit various legal roles including those of jurymen, judges, and attorneys, and some poems simulate courtroom contests pitting the rights of individuals against the power of the state. She was keenly interested in legal matters pertaining to women, such as breach of promise, dower, and trusts. With her tone ranging from subservient to domineering, from reverential to ridiculing, Dickinson’s writings reflect an abiding concern with philosophic and political principles underpinning the law, as well as an identification with the plight of individuals who dared confront authority.A Kiss from Thermopylae reveals a new dimension of Dickinson’s writing and thinking, one indicating that she was thoroughly familiar with the legal community’s idiomatic language, actively engaged with contemporary political and ethical questions, and skilled at deploying a poetic register ranging from high romanticism to low humor.

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Book SynopsisScholars no longer see Jonathan Edwards as the fire-and-brimstone preacher who deemed his parishioners ""sinners in the hands of an angry god."" Edwards now figures as caring and socially conscious and exerts increased influence as a philosopher of the American school of Protestantism. In this study, he becomes the progenitor of an alternative tradition in American letters.In Knowing, Seeing, Being, Jennifer Leader argues that Edwards, the nineteenth-century poet Emily Dickinson, and the twentieth-century poet Marianne Moore share a heretofore underrecognized set of religious and philosophical preoccupations. She contends that they represent an alternative tradition within American literature, one that differs from Transcendentalism and is grounded in Reformed Protestantism and its ways of reading and interpreting the King James Bible and the natural world. According to Leader, these three writers' most significant commonality is the Protestant tradition of typology, a rigorous mode of interpreting scripture and nature through which certain figures or phenomena are read as the fulfillment of prophecy and of God's work. Following from their similar ways of reading, they also share philosophical and spiritual questions about language, epistemology (knowing), perception (seeing), and physical and spiritual ontology (being). In connecting Edwards to these two poets, in exploring each writer's typological imagination, and through a series of insightful readings, this innovative book reevaluates three major figures in American intellectual and literary history and compels a reconsideration of these writers and their legacies.

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Book SynopsisRobert Lowell was known not only as a great poet but also as a writer whose devotion to his art came at a tremendous personal cost. In this work, his third on Robert Lowell, Jeffrey Meyers examines the poet's impassioned, fraught relationships with the key women in his life, including his mother, Charlotte Winslow Lowell; his three wives -- Jean Stafford, Elizabeth Hardwick, and Caroline Blackwood; nine of his many lovers; his close women friends -- Mary McCarthy, Elizabeth Bishop, and Adrienne Rich; and his most talented students, Anne Sexton and Sylvia Plath.Lowell's charismatic personality and compelling poetry attracted lovers and friends who were both frightened and excited by his aura of brilliance and danger. He loved the idea of falling in love, and in his recurring manic episodes he needed women at the center of his emotional and artistic life. While he idealized his loves and encouraged their talents, he never fully grasped his wives' and lovers' deepest needs and feelings, and his frenetic affairs and tortured marriages were always conducted entirely on his own terms. Robert Lowell in Love tells the story of the poet in the grip of love and gives voice to the women who loved him, inspired his poetry, and suffered along with him.

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Book SynopsisDuring her lifetime, Lydia Sigourney was acclaimed as nineteenth-century America's most popular woman poet and published widely as a historian, travel writer, essayist, and educator. While serious critical attention to her work languished following her death and into the twentieth century, a growing number of critics and writers have reexamined Sigourney and her large body of writing and have given her a central place in the ""new canon.""This first collection of original essays devoted to the poet's work puts many of the best scholars on Sigourney together in one place and in conversation with one another. The volume includes critical essays examining her literary texts as well as essays that unpack Sigourney's participation in the cultural movements of her day. Holding powerful opinions about the role of women in society, Sigourney was not afraid to advocate against government policies that, in her view, undermined the promise of America, even as she was held up as a paragon of American womanhood and middle-class rectitude. The resulting portrait promises to engage readers who wish to know more about Sigourney's writing, her career, and the causes that inspired her.Along with the volume editors, contributors include Ann Beebe, Paula Bernat Bennett, Janet Dean, Sean Epstein-Corbin, Annie Finch, Gary Kelly, Paul Lauter, Amy J. Lueck, Ricardo Miguel-Alfonso, Jennifer Putzi, Angela Sorby, Joan Wry, and Sandra Zagarell.Trade Review"As a whole, the essays here do not just reconsider Sigourney’s life and work. They also create a valuable resource that can shape new strategies for incorporating her work into surveys and advanced courses alike." — ALH Online Review, XXVI.1 (2018)

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Book SynopsisWhile the later work of the great Modernist poet Marianne Moore was hugely popular during her final two decades, since her death critics have condemned it as trivial. This book challenges that assessment: with fresh readings of many of the late poems and of the iconic, cross-dressing public persona Moore developed to deliver them, Apparition of Splendor demonstrates that Moore used her late-life celebrity in daring and innovative ways to activate egalitarian principles that had long animated her poetry. Dressed as George Washington in cape and tricorn and writing about accessible topics like sports, TV shows, holidays, love, activism, mortality and celebrity itself, she reached a wide cross-section of Americans, encouraging them to consider what democracy means in their daily lives, particularly around issues of gender, sexuality, racial integration, class, age, and immigration. Moore actively sought out publication in popular venues (like Vogue, The New Yorker, and the Saturday Evening Post, etc.) and wrote on material chosen to directly appeal to the audiences there, influencing younger contemporaries, including poets like Ashbery, O’Hara, and Bishop, and artists like Warhol, Yoko Ono, and Ray Johnson."Apparition of Splendor is brilliant and necessary. It provides an extended look at Marianne Moore’s late poetry that no other book-length study has taken on…. Gregory’s deep expertise is evident throughout. Her discussions make visible startling networks of connections between poems, and – while maintaining keen focus on the late poems – briskly but sensitively draw upon the earlier poems to clarify continuities and suggest transformations. Her archival and extra-literary research, in Moore’s papers and in regard to general cultural contexts, is wonderfully on display with every page.The subject of Moore’s late poetry is woefully understudied, and this book will conduct an important intervention in critical tendencies to dismiss this body of work. Apparition of Splendor is a major contribution to Moore studies and to studies of 20th-century American poetry.” - Linda Kinnahan, Duquesne University, author of Feminist Modernism, Poetics, and the New Economy: Mina Loy, Lola Ridge, and Marianne Moore Published by the University of Delaware Press. Distributed worldwide by Rutgers University Press.Table of Contents Acknowledgments Abbreviations Illustrations Introduction—Democracy, Celebrity, Poetry Chapter One—“Apparition of Splendor”: Poet as Performance Chapter Two—Sports Poetry: Populism, Race, and the Ethics of Celebration Chapter Three—Occasional Work: Culture, Spirit, Community Chapter Four—Embracing Affect: Love, Interest, and the Personal Chapter Five—“Still Leafing”: Age, Activism, Immortality Epilogue—“Correspondances”: Ma–Ray–Andy Appendix—The Retrospect, Moore’s Shifting Texts, and Her Archive About the Author Endnotes Bibliography

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Book SynopsisThis book brings together ten essays on John Donne and George Herbert composed by an international group of scholars. The volume represents the first collection of its kind to draw close connections between these two distinguished early modern thinkers and poets who are justly coupled because of their personal and artistic association. The contributors' distinctive new approaches and insights illuminate a variety of topics and fields while suggesting new directions that future study of Donne and Herbert might take. Some chapters explore concrete instances of collaboration or communication between Donne and Herbert, and others find fresh ways to contextualize the Donnean and Herbertian lyric, carefully setting the poetry alongside discourses of apophatic theology or early modern political theory, while still others link Herbert's verse to Donne's devotional prose. Several chapters establish specific theological and aesthetic grounds for comparison, considering Donne and Herbert's respective positions on religious assurance, comic sensibility, and virtuosity with poetic endings. Table of ContentsAcknowledgements Russell M. Hillier and Robert W. Reeder, Introduction Part I: Negative Theology, Political Theory, and the Lyric Chapter 1: Kirsten Stirling, “Donne’s Negative Theology of the Cross” Chapter 2: Angela Balla, “Prayer as Political Theory: Conscience, Sovereignty, and Natural Law in Donne and Herbert” Part II: Encounters: Exchange and Collaboration Chapter 3: Anne-Marie Miller-Blaise, “‘Resplendence of women, men’s means to zeal’: Fashioning Female Sanctity in Donne and Herbert’s Commemoration of Lady Danvers” Chapter 4: Kimberly Johnson, “Crossings: Sacramental Signs Across the Verse of Donne and Herbert” Chapter 5: Greg Miller, “Crucifying Craft: A Donne-Herbert Dialogue” Part III: Sin, Salvation, and Assurance Chapter 6: Robert W. Reeder, “‘Extreme Audacity of Penitential Humility’: Devotions 10 and the Donne-Herbert Dichotomy” Chapter 7: Kate Narveson, “Imagining Prayer in Donne’s Devotions and Herbert’s Poems of Complaint” Chapter 8: Danielle A. St. Hilaire, “Recuperating the Incapacities of the Fallen Self in Donne and Herbert: Possibility and Promise” Part IV: Appraisals Chapter 9: Christopher Hodgkins, “Donne’s ‘Comedy of Eros’ and Herbert’s ‘World of Mirth’” Chapter 10: Helen Wilcox, “‘The dot over the i’: How Donne and Herbert Close Their Poems” Appendix: Catherine R. Freis, Richard Freis, and Greg Miller, trans., “Donne and Herbert’s Latin Poems on the Seal of Christ on the Anchor” About the Contributors Index

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Book SynopsisGoethe is the most famous German author, and the poetic drama Faust, Part I (1808) is his best-known work, one that stands in the company of other leading canonical works of European literature such as Dante’s Inferno and Shakespeare’s Hamlet. This is the first new translation into English since David Constantine’s 2005 version. Why another translation when there are several currently in print? To invoke Goethe’s own authority when speaking of his favorite author, Shakespeare, Goethe asserts that so much has already been said about the poet-dramatist “that it would seem there’s nothing left to say,” but adds, “yet it is the peculiar attribute of the spirit that it constantly motivates the spirit.” Goethe’s great dramatic poem continues to speak to us in new ways as we and our world continually change, and thus a new or updated translation is always necessary to bring to light Faust’s almost inexhaustible, mysterious, and enchanting poetic and cultural power. Eugene Stelzig’s new translation renders the text of the play in clear and crisp English for a contemporary undergraduate audience while at the same time maintaining its leading poetic features, including the use of rhyme. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade ReviewStelzig's translation is an excellent and unusually accessible introduction to Goethe's text for college students. Its dramatic prose with occasional rhyme catches the basic tone of Goethe's play and loosely follows the lineation of the original. Accurate and clear enough to stand on its own with minimal annotation, lively enough to keep students reading and to read aloud in class, it is a superb choice for world literature courses or for departmental courses in translation. -- Jane K. Brown * University of Washington *This exciting new translation of Goethe’s Faust brings the text to life for a contemporary audience. Stelzig’s 'flexible' approach to poetic translation is eminently successful: the complexity of the text is allowed to emerge without completely sacrificing its poetry. I highly recommend it--especially for the classroom and first-time English readers of Faust. -- Astrida Tantillo * University of Illinois at Chicago *"The renewing potential of translation—indeed, of any act of cultural transmission—lies at the heart of so many of Goethe’s works, and Stelzig has succeeded in crafting a vibrant English version of this masterpiece." * Eighteenth-Century Studies *"This translation successfully captures the power of the text and maintains, as best as possible, fidelity to the original, even as the author has made many choices to produce a readable and quite modern Faust." * The Wordsworth Circle *"Stelzig’s translation succeeds in establishing this desired rapport between Goethe’s German text and English-speaking readers of the twenty-first century. By using contemporary but not overly colloquial language, by conveying some of the range of Goethe’s explicit and implicit meaning, and by creating a text with sonorous, poetic qualities, Stelzig has produced a translation that will make Goethe’s work accessible to a range of readers. It would certainly be appropriate for undergraduate literature courses; the scholarly apparatus (introduction and notes) is informative without being pedantic. The translation would, I think, also lend itself to use in theatrical performances." * European Romantic Review *"Stelzig has provided a solid, readable text of Faust I that should remain enjoyable and useful for a long while." * Goethe Yearbook *Table of ContentsTranslator’s Note IntroductionFAUST, PART I Further Reading Contemporary English Translations of Faust, Part I Acknowledgements Authorial Note

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Book SynopsisBeside the Bard argues that Scottish poetry in the age of Burns reclaims not a single past, dominated and overwritten by the unitary national language of an elite ruling class, but a past that conceptualizes the Scottish nation in terms of local self-identification, linguistic multiplicity, cultural and religious difference, and transnational political and cultural affiliations. This fluid conception of the nation may accommodate a post-Union British self-identification, but it also recognizes the instrumental and historically contingent nature of “Britishness.” Whether male or female, loyalist or radical, literati or autodidacts, poets such as Alexander Wilson, Carolina Olyphant, Robert Tannahill, and John Lapraik, among others, adamantly refuse to imagine a single nation, British or otherwise, instead preferring an open, polyvocal field, on which they can stage new national and personal formations and fight new revolutions. In this sense, “Scotland” is a revolutionary category, always subject to creative destruction and reformation. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"Covering the works of Scottish poets from the late eighteenth and early nineteenth centuries, George S. Christian’s Beside the Bard: Scottish Lowland Poetry in the Age of Burns offers a detailed and nuanced review of this important but neglected body of writing, assessing the distinctive contributions of many Scottish poets forced to write 'in the shadow of Burns.' Beside the Bard is a welcome addition to the study of Scottish verse and Robert Burns, for it allows us to hear the unique voices of Lowland Scottish poets and appreciate the long-hidden value of their work." -- Corey E. Andrews * author of The Genius of Scotland: The Cultural Production of Robert Burns, 1785-1834 *"By examining a group of less well-known poets, this book will interest a constituency of scholars in Scottish studies, and there are stretches where it is impossible not to be impressed with the author's erudition." * Burns Chronicle *"Covering the works of Scottish poets from the late eighteenth and early nineteenth centuries, George S. Christian’s Beside the Bard: Scottish Lowland Poetry in the Age of Burns offers a detailed and nuanced review of this important but neglected body of writing, assessing the distinctive contributions of many Scottish poets forced to write 'in the shadow of Burns.' Beside the Bard is a welcome addition to the study of Scottish verse and Robert Burns, for it allows us to hear the unique voices of Lowland Scottish poets and appreciate the long-hidden value of their work." -- Corey E. Andrews * author of The Genius of Scotland: The Cultural Production of Robert Burns, 1785-1834 *"By examining a group of less well-known poets, this book will interest a constituency of scholars in Scottish studies, and there are stretches where it is impossible not to be impressed with the author's erudition." * Burns Chronicle *Table of Contents Introduction Lowland Scottish Poetry in the “Age of Burns” 1 Burns’s Ayrshire “Bardies”: John Lapraik and David Sillar 2 Burns and the Women “Peasant Poets,” Janet Little and Isobel Pagan 3 Alexander Wilson and the Price of Radicalism 4 Lady Nairne, Burns’s Jacobite Other 5 “In the Shadow of Burns”: Robert Tannahill 6 Burns and the Jacobins, James Kennedy and Alexander Geddes Conclusion Acknowledgments Bibliography Index

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Book SynopsisTranspoetic Exchange illuminates the poetic interactions between Octavio Paz (1914-1998) and Haroldo de Campos (1929-2003) from three perspectives--comparative, theoretical, and performative. The poem Blanco by Octavio Paz, written when he was ambassador to India in 1966, and Haroldo de Campos’ translation (or what he calls a “transcreation”) of that poem, published as Transblanco in 1986, as well as Campos’ Galáxias, written from 1963 to 1976, are the main axes around which the book is organized. The volume is divided into three parts. “Essays” unites seven texts by renowned scholars who focus on the relationship between the two authors, their impact and influence, and their cultural resonance by exploring explore the historical background and the different stylistic and cultural influences on the authors, ranging from Latin America and Europe to India and the U.S. The second section, “Remembrances,” collects four experiences of interaction with Haroldo de Campos in the process of transcreating Paz’s poem and working on Transblanco and Galáxias. In the last section, “Poems,” five poets of international standing--Jerome Rothenberg, Antonio Cicero, Keijiro Suga, André Vallias, and Charles Bernstein. Paz and Campos, one from Mexico and the other from Brazil, were central figures in the literary history of the second half of the 20th century, in Latin America and beyond. Both poets signal the direction of poetry as that of translation, understood as the embodiment of otherness and of a poetic tradition that every new poem brings back as a Babel re-enacted. This volume is a print corollary to and expansion of an international colloquium and poetic performance held at Stanford University in January 2010 and it offers a discussion of the role of poetry and translation from a global perspective. The collection holds great value for those interested in all aspects of literary translation and it enriches the ongoing debates on language, modernity, translation and the nature of the poetic object. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"Offers an homage to the creative relationship between Octavio Paz and Haroldo de Campos in a volume stemming from the eponymous Stanford University event in Winter 2010 that gathered scholars, artists and poets from all the corners of the globe....Recognizing presence and precedence, Transpoetic Exchange journeys across cultures and traditions, languages and geographies, words and the verbal rawness of blank in the page." * Bulletin of Spanish Studies *Table of Contents Introduction: A Multiversal Experiment Part I: Essays Chapter 1: On the Presence of Absence: Octavio Paz’s “Blanco” Enrico Mario Santí Chapter 2: “Blanco” and Transblanco: Modern and Post-Utopic João Adolfo Hansen Chapter 3: Refiguring the Poundian Ideogram: From Octavio Paz’s “Blanco/Branco” to Haroldo de Campos’s Galáxias Marjorie Perloff Chapter 4: Poetry Makes Nothing Happen Marília Librandi Chapter 5: Haroldo de Campos, Octavio Paz and the Experience of the Avant-Garde Antonio Cicero Chapter 6: “Blanco”: a version of Mallarmé’s heritage Luiz Costa Lima Chapter 7: Translation and Radical Poetics: The Case of Octavio Paz and the Noigrandres Odile Cisneros Part 2: Remembrances Chapter 8: Pages, Pageants, Portraits, Prospects: an Austin-atious Remembrance of Haroldo de Campos Charles A. Perrone Chapter 9: “Logopéia via Goethe via Christopher Middleton”: An unknown recording of Haroldo de Campos (Austin, 1981) Kenneth David Jackson Chapter 10: Meeting in Austin Benedito Nunes Part 3: Poems Chapter 11: Three Variations on Octavio Paz’s “Blanco” and Fifteen Antiphonals for Haroldo de Campos, with a Note on Translation, Transcreation, and Othering Jerome Rothenberg Chapter 12: Poems Antonio Cicero Chapter 13: Waves of Absence Keijiro Suga Chapter 14: Hexaemeron. The Six Faces of Haphazard André Vallias Chapter 15: Amberianum [Philosophical Fragments of Caudio Amberian] Charles Bernstein Acknowledgments Bibliography Index Notes on Contributors

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Book SynopsisTranspoetic Exchange illuminates the poetic interactions between Octavio Paz (1914-1998) and Haroldo de Campos (1929-2003) from three perspectives--comparative, theoretical, and performative. The poem Blanco by Octavio Paz, written when he was ambassador to India in 1966, and Haroldo de Campos’ translation (or what he calls a “transcreation”) of that poem, published as Transblanco in 1986, as well as Campos’ Galáxias, written from 1963 to 1976, are the main axes around which the book is organized. The volume is divided into three parts. “Essays” unites seven texts by renowned scholars who focus on the relationship between the two authors, their impact and influence, and their cultural resonance by exploring explore the historical background and the different stylistic and cultural influences on the authors, ranging from Latin America and Europe to India and the U.S. The second section, “Remembrances,” collects four experiences of interaction with Haroldo de Campos in the process of transcreating Paz’s poem and working on Transblanco and Galáxias. In the last section, “Poems,” five poets of international standing--Jerome Rothenberg, Antonio Cicero, Keijiro Suga, André Vallias, and Charles Bernstein. Paz and Campos, one from Mexico and the other from Brazil, were central figures in the literary history of the second half of the 20th century, in Latin America and beyond. Both poets signal the direction of poetry as that of translation, understood as the embodiment of otherness and of a poetic tradition that every new poem brings back as a Babel re-enacted. This volume is a print corollary to and expansion of an international colloquium and poetic performance held at Stanford University in January 2010 and it offers a discussion of the role of poetry and translation from a global perspective. The collection holds great value for those interested in all aspects of literary translation and it enriches the ongoing debates on language, modernity, translation and the nature of the poetic object. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"Inspired by the eclectic form of Haroldo de Campos's Transblanco, this volume blends essays by authoritative critics of twentieth century poetics with personal reflections, creative work, and previously unpublished material by and about Haroldo de Campos and Octavio Paz. Transpoetic Exchange holds great value for readers interested in all aspects of poetry and translation and its transnational approach taps into an important current in contemporary literary studies.""Offers an homage to the creative relationship between Octavio Paz and Haroldo de Campos in a volume stemming from the eponymous Stanford University event in Winter 2010 that gathered scholars, artists and poets from all the corners of the globe....Recognizing presence and precedence, Transpoetic Exchange journeys across cultures and traditions, languages and geographies, words and the verbal rawness of blank in the page." * Bulletin of Spanish Studies *"Offers an homage to the creative relationship between Octavio Paz and Haroldo de Campos in a volume stemming from the eponymous Stanford University event in Winter 2010 that gathered scholars, artists and poets from all the corners of the globe....Recognizing presence and precedence, Transpoetic Exchange journeys across cultures and traditions, languages and geographies, words and the verbal rawness of blank in the page." * Bulletin of Spanish Studies *Table of Contents Introduction: A Multiversal Experiment Part I: Essays Chapter 1: On the Presence of Absence: Octavio Paz’s “Blanco” Enrico Mario Santí Chapter 2: “Blanco” and Transblanco: Modern and Post-Utopic João Adolfo Hansen Chapter 3: Refiguring the Poundian Ideogram: From Octavio Paz’s “Blanco/Branco” to Haroldo de Campos’s Galáxias Marjorie Perloff Chapter 4: Poetry Makes Nothing Happen Marília Librandi Chapter 5: Haroldo de Campos, Octavio Paz and the Experience of the Avant-Garde Antonio Cicero Chapter 6: “Blanco”: a version of Mallarmé’s heritage Luiz Costa Lima Chapter 7: Translation and Radical Poetics: The Case of Octavio Paz and the Noigrandres Odile Cisneros Part 2: Remembrances Chapter 8: Pages, Pageants, Portraits, Prospects: an Austin-atious Remembrance of Haroldo de Campos Charles A. Perrone Chapter 9: “Logopéia via Goethe via Christopher Middleton”: An unknown recording of Haroldo de Campos (Austin, 1981) Kenneth David Jackson Chapter 10: Meeting in Austin Benedito Nunes Part 3: Poems Chapter 11: Three Variations on Octavio Paz’s “Blanco” and Fifteen Antiphonals for Haroldo de Campos, with a Note on Translation, Transcreation, and Othering Jerome Rothenberg Chapter 12: Poems Antonio Cicero Chapter 13: Waves of Absence Keijiro Suga Chapter 14: Hexaemeron. The Six Faces of Haphazard André Vallias Chapter 15: Amberianum [Philosophical Fragments of Caudio Amberian] Charles Bernstein Acknowledgments Bibliography Index Notes on Contributors

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Book SynopsisVolume 26 of 1650–1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era travels beyond the usual discussions of power, identity, and cultural production to visit the purlieus and provinces of Britain’s literary empire. Bulging at its bindings are essays investigating out-of-the-way but influential ensembles, whether female religious enthusiasts, annotators of Maria Edgeworth’s underappreciated works, or modern video-based Islamic super-heroines energized by Mary Wollstonecraft’s irreverance. The global impact of the local is celebrated in studies of the personal pronoun in Samuel Johnson’s political writings and of the outsize role of a difficult old codger in catalyzing the literary career of Charlotte Smith. Headlining a volume that peers into minute details in order to see the outer limits of Enlightenment culture is a special feature on metaphor in long-eighteenth-century poetry and criticism. Five interdisciplinary essays investigate the deep Enlightenment origins of a trope usually associated with the rise of Romanticism. Volume 26 culminates in a rich review section containing fourteen responses to current books on Enlightenment religion, science, literature, philosophy, political science, music, history, and art.About the annual journal 1650-18501650-1850 publishes essays and reviews from and about a wide range of academic disciplines: literature (both in English and other languages), philosophy, art history, history, religion, and science. Interdisciplinary in scope and approach, 1650-1850 emphasizes aesthetic manifestations and applications of ideas, and encourages studies that move between the arts and the sciences—between the “hard” and the “humane” disciplines. The editors encourage proposals for special features that bring together five to seven essays on focused themes within its historical range, from the Interregnum to the end of the first generation of Romantic writers. While also being open to more specialized or particular studies that match up with the general themes and goals of the journal, 1650-1850 is in the first instance a journal about the artful presentation of ideas that welcomes good writing from its contributors. ISSN 1065-3112. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"Scholarly communities, especially those joined in eighteenth-century studies, can raise a shout (or glass) over the prospect of the annual 1650-1850’s future publication by Bucknell University Press. This will provide us with regular publication and broader distribution of the journal Kevin Cope has so impressively edited for over 20 years. With contributions from around the world, 1650-1850 has long been providing essays focused on fields as diverse as art and philosophy and others truly inter-disciplinary. It has carried many special issues on topics like 'Death and Dying in the Early Modern Era.' It has also distinguished itself by including lengthy essays and reviews. While 1650-1850 has always been an important annual for seventeenth-, eighteenth-, and nineteenth-century studies, its temporal focus is all the more valuable now that so much exciting research is being produced." -- James E. May * editor, 18th-Century Intelligencer *"For more than two decades, 1650-1850 has offered its readers an inspiring example of what a scholarly annual concentrating on interdisciplinary and international topics can be. The work of seasoned scholars appears alongside that of 'mid-career' scholars and newly-minted PhDs, creating a heady variety of approaches and subject matter in every volume. The articles, the reviews, the 'special features,' and even the occasional 'Editor’s Choice' on underappreciated books always advance knowledge in large and small ways. Equally important, each contribution is typically written with verve and allusive pluckiness. There has never been anything doctrinaire about 1650-1850, other than an energy to display compelling new work to its best advantage. That Bucknell University Press has committed itself to this exciting annual is a cause for celebration." -- J.T. Scanlan * coeditor, The Age of Johnson *“A good read and an intellectually responsible read, a worthwhile component of our literary public sphere that deserves our well wishes.” -- Michael McKeon * author of The Secret History of Domesticity: Public, Private, and the Division of Knowledge *"Under Kevin L. Cope’s leadership, this annual continues to display the wide-range not only of subject matter but also of critical approach that is suggested by its subtitle. The heart of this year’s volume comprises six essays edited by Cope [and] the always fulsome book review section, under the direction of Samara Anne Cahill, completes the volume." * The Eighteenth-Century Intelligencer *Table of ContentsESSAYS Edited by Kevin L. Cope Prostitutes or Proselytes: Eighteenth-Century Female Enthusiasts ROBIN RUNIA Edmund Burke on Monarchy: Keystone and Trials of Strength NORBERT COL “These Kings of me”: The Provenance and Significance of an Allusion in Johnson’s Taxation No Tyranny MATTHEW M. DAVIS Localizing Women? Mary Wollstonecraft, Burka Avenger, and the Adaptable Heroine SAMARA ANNE CAHILL The Woman, the Politician, and the Will: Charlotte Smith’s Literary Assaults on John Robinson, “The Lowest Rank of Human Degradation” ANDREW CONNELL In Quotes: Annotating Maria Edgeworth’s Belinda MELVYN NEW SPECIAL FEATURE Metaphor in the Poetry and Criticism of the Long Eighteenth Century Edited by Mark A. Pedreira Introduction to the Special Feature: Metaphor in the Poetry and Criticism of the Long Eighteenth Century MARK A. PEDREIRA Organizing Poetry in the Eighteenth Century: Anthologies and Metaphor ADAM ROUNCE Curvilinear Thinking in the Long Eighteenth Century TAYLOR CORSE Feeling Allegory: Affect, Metaphor, and Milton’s Eighteenth-Century Reception MICHAEL EDSON The Worldliness of Edward Young and the Metaphorics of Georgian Patronage JACOB SIDER JOST Coleridge and Metaphor: Crossing Thresholds LINDA L. REESMAN BOOK REVIEWS Edited by Samara Anne Cahill Janet Aikins Yount, ed., Clarissa: The Twentieth-Century Response, 1900–1950, 2 vols. Reviewed by SÖREN HAMMERSCHMIDT O. M. Brack Jr. and Robert De Maria Jr., eds., The Yale Edition of the Works of Samuel Johnson. Volume 20. Johnson on Demand: Reviews, Prefaces, and Ghost-Writings Reviewed by GREG CLINGHAM Anthony W. Lee, ed., Community and Solitude: New Essays on Johnson’s Circle Reviewed by JOHN J. BURKE Anthony W. Lee, ed., New Essays on Samuel Johnson: Revaluation Reviewed by CHRISTOPHER D. JOHNSON Anthony W. Lee, ed., Samuel Johnson among the Modernists Reviewed by JOHN SITTER Leo Damrosch, The Club: Johnson, Boswell, and the Friends Who Shaped an Age Reviewed by MALCOLM JACK Samara Anne Cahill, Intelligent Souls? Feminist Orientalism in Eighteenth-Century English Literature Reviewed by ASHLEY BENDER Teresa Barnard, ed., British Women and the Intellectual World in the Long Eighteenth Century Reviewed by GEFEN BAR-ON SANTOR Trevor Ross, Writing in Public: Literature and the Press in Eighteenth-Century Britain Reviewed by MALCOLM JACK Rivka Swenson, Essential Scots and the Idea of Unionism in Anglo-Scottish Literature, 1603–1832 Reviewed by PAUL J. DeGATEGNO Paul Corneilson, ed., Ballet Music from the Mannheim Court. Part V, Christian Cannabich. Les Fêtes du sérail, and Carol G. Marsh, ed., Angélique et Médor, ou Roland furieux Reviewed by GLORIA EIVE Margaret Jacob, The Secular Enlightenment Reviewed by R. J. W. MILLS Eve Tavor Bannet and Roxann Wheeler, eds., Studies in Eighteenth-Century Culture Vol. 46 Reviewed by CHRISTOPHER D. JOHNSON Eve Tavor Bannet and Roxann Wheeler, eds., Studies in Eighteenth-Century Culture Vol. 47 Reviewed by CHRISTOPHER D. JOHNSON About the Contributors

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Book SynopsisThe first English translation of Yves Bonnefoy’s account of his life as a traveler. The Wandering Life is a poetic culmination of Yves Bonnefoy’s wanderings and characterizes the final twenty-five years of his work. Bonnefoy was an ardent traveler throughout his life, and his journeys in foreign countries left a profound imprint on his work. The time he spent in Italy, translating Shakespeare’s work in England, in universities in the United States, in India with Octavio Paz, and more, affected his poetry in discernible ways and inspired The Wandering Life. Interweaving verse and prose—vignettes that range from a few lines in length to several pages—this volume is a fitting capstone to Bonnefoy’s oeuvre and appears in English translation for the first time to mark the centenary of Yves Bonnefoy’s birth. Table of ContentsTHE WANDERING LIFE‘READ THE BOOK!’THE WANDERING LIFEThe Colour AlchemistThe Wandering LifeAll Morning in the CityThe Northern FireStrabo the GeographerGlaucus the GodAs Far as I Know YouThe ClockSugarfootImpressions at SunsetHuge Red RocksLandscape with the Flight into EgyptAll the Gold in the WorldTHE GRAPES OF ZEUXISThe Grapes of ZeuxisThe DogsThe Top of The WorldNightThe Task of Non-ExistenceThe Blind ManThe IncisionThe BookThey Spoke to MeTHE GRAPES OF ZEUXIS AGAINIncompletableThe Painter’s DespairThe MuseumNocturnal JusticeHomageThe Great ImageThe CrucifixThe Grapes of Zeuxis AgainShe Who Invented PaintingLAST GRAPES OF ZEUXISI. Zeuxis, despite the birdsII. He caught his breathIII. And what a surprise it wasIV. Not even those weighty clustersV. Now, he paints in peaceVI. Long, long hoursVII. Ah, what’s happened?VIII. Zeuxis wanders in the countrysideIX. It’s something akin to a puddleFROM WIND AND SMOKEA STONETWO MUSICIANS, THREE PERHAPSTwo Musicians, Three PerhapsThree Memories of the JourneyTwo Sentences, and OthersHands That Take Hold of HisZeuxis: The Self-PortraitBECKETT’S DINGHYANOTHER ERA OF WRITING‘Bonnefoy the Voyager: An Afterword’ by Hoyt Rogers

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