Search results for ""Author Robert Duncan""

“Read this book immediately if you like truth, drugs, generation gaps, guitars, and lifelong quests for freedom and kicks.” --Craig Finn, The Hold Steady Thomas Ransom, born to a severely dysfunctional southern family transplanted to New York City, is left to his own devices by neglectful parents, and spends his childhood shadowing his criminally-inclined half-brother and roaming the city with hard-drinking teenage pals. He eventually finds an outlet as the flamboyant singer of a downtown rock band, and later as the young editor of the Detroit-based magazine that invented punk, only to return to New York, at the height of the 1970s bacchanal, and crash. But it isn’t music that saves him. It’s a soft-spoken painter, who turns out to be the most outrageous character of all. With echoes of Almost Famous and Just Kids, LOUDMOUTH tracks an impassioned musician and writer out among the punks, hippies, and wild geniuses of rock when music was the center of the world. Author Robert Duncan was barely out of his teens when he started writing for the influential music magazine Creem, becoming its managing editor at 22. He went on to write for Rolling Stone, Circus, Life, and dozens of other publications, interviewing hundreds of rock stars at the top of their game. In the process, Duncan became a rock Zelig: he shares tales of his time with a young, scrawny Bruce Springsteen while driving him around Detroit; he introduces The Clash‘s Mick Jones and Joe Strummer to a broken-down piano player of dubious ability, leading to a hilariously disastrous recording session with the band; he works alongside legendary rock critic Lester Bangs, witnesses his tragic spiral, and finally discovers him dead of an OD in the apartment next door. These experiences, and many others, provide the fuel for his debut novel, LOUDMOUTH, making it what Brian Jonestown Massacre's Joel Gion calls, “A sonic wail of a tale about the youthful beginnings of one of the Mount Rushmore ‘heads’ of rock ’n’ roll journalism.”

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Robert Culver wrote Systematic Theology with the goal of creating a treasure trove for the student of the Bible. No previous knowledge of theology demanded, this volume is written in an essentially readable way and is the perfect core to the library of anyone who loves to learn. Subjects include: the doctrine of God, the doctrine of man as created, the doctrine of man as fallen, the doctrine of salvation, the doctrine of last things, and the doctrine of Christ.

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A landmark in the publication of twentieth-century American poetry, this first volume of the long-awaited collected poetry, non-critical prose, and plays of Robert Duncan gathers all of Duncan’s books and magazine publications up to and including Letters: Poems 1953–1956. Deftly edited, it thoroughly documents the first phase of Duncan’s distinguished life in writing, making it possible to trace the poet’s development as he approaches the brilliant work of his middle period. This volume includes the celebrated works Medieval Scenes and The Venice Poem, all of Duncan’s long unavailable major ventures into drama, his extensive “imitations” of Gertrude Stein, and the remarkable poems written in Majorca as responses to a series of collaged paste-ups by Duncan’s life-long partner, the painter Jess. Books appear in chronological order of publication, with uncollected periodical and other publications arranged chronologically, following each book. The introduction includes a biographical commentary on Duncan’s early life and works, and clears an initial path through the textual complexities of his early writing. Notes offer brief commentaries on each book and on many of the poems.The volume to follow, The Collected Later Poetry and Plays, will include The Opening of the Field (1960), Roots and Branches (1964), Bending the Bow (1968), Ground Work (1984), and Ground Work II (1987).

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Once Upon a World presents Bible stories for children in a unique, individual, and highly readable style. Stories selected from the Old and New Testaments are charmingly retold and illustrated with delightful cartoon sketches. The stories are brought vividly to life, and throughout, Robert Duncan retains a warmth and reverence for his subject. A happy combination of faith and fun has produced a book that will appeal to all children and those young at heart. A revised and refreshed edition of Robert Duncan’s entertaining retelling of Bible stories to entrance future generations.

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The poet has said of himself and his work: "I am not an experimentalist or an inventor, but a derivative poet, drawing my art from the resources given by a generation of masters––Stein, Williams, Pound; back of that by the generations of poets that have likewise been dreamers of the Cosmos as Creation and Man as Creative Spirit; and by the work of contemporaries: Zukofsky, Olson, Creeley and Denise Levertov."

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This volume in the Collected Writings of Robert Duncan series gathers a far-reaching selection of Robert Duncan's prose writings including most of his longer and more well-known essays along with other prose that has never been widely available. Ranging in original publication dates between 1940 and 1985, the forty-one titles reveal a great deal about Duncan's life in poetry - including his impressions of poets whose work he admires, both contemporaries and precursors. Evocative and eclectic, this work delineates the intellectual contexts and sources of Duncan's poetics, and opens a window onto the literary communities in which he participated.

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Profoundly original yet insistent on the derivative quality of his work, transgressive yet affirmative of tradition, Robert Duncan (1919-1988) was a generative force among American poets, and his poetry and poetics establish him as a major figure in mid- and late- 20th-century American letters. This second volume of Robert Duncan's collected poetry and plays presents authoritative annotated texts of both collected and uncollected work from his middle and late writing years (1958-1988), with commentaries on each of the five books from this period: The Opening of the Field, Roots and Branches, Bending the Bow, and the two volumes of Ground Work. The biographical and critical introduction discusses Duncan as a late Romantic and postmodern American writer; his formulation of a homosexual poetics; his development of the serial poem; the notation and centrality of sound as organizing principle; his relations with such fellow poets as Robin Blaser, Charles Olson, and Jack Spicer; his indebtedness to Alfred North Whitehead; and his collaborations with the painter Jess Collins, his lifelong partner. Texts include his anti-war poems of the 1960s and 70s, his homages to Dante and other canonical poets, and his translations from the French of Gerard de Nerval, as well as the complete Structure of Rime and Passages series.

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Profoundly original yet insistent on the derivative quality of his work, transgressive yet affirmative of tradition, Robert Duncan (1919-1988) was a generative force among American poets, and his poetry and poetics establish him as a major figure in mid- and late- 20th-century American letters. This second volume of Robert Duncan’s collected poetry and plays presents authoritative annotated texts of both collected and uncollected work from his middle and late writing years (1958-1988), with commentaries on each of the five books from this period: The Opening of the Field, Roots and Branches, Bending the Bow, and the two volumes of Ground Work. The biographical and critical introduction discusses Duncan as a late Romantic and postmodern American writer; his formulation of a homosexual poetics; his development of the serial poem; the notation and centrality of sound as organizing principle; his relations with such fellow poets as Robin Blaser, Charles Olson, and Jack Spicer; his indebtedness to Alfred North Whitehead; and his collaborations with the painter Jess Collins, his lifelong partner. Texts include his anti-war poems of the 1960s and 70s, his homages to Dante and other canonical poets, and his translations from the French of Gérard de Nerval, as well as the complete Structure of Rime and Passages series.

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This volume in the Collected Writings of Robert Duncan series gathers a far-reaching selection of Robert Duncan’s prose writings including most of his longer and more well-known essays along with other prose that has never been widely available. Ranging in original publication dates between 1940 and 1985, the forty-one titles reveal a great deal about Duncan’s life in poetry—including his impressions of poets whose work he admires, both contemporaries and precursors. Evocative and eclectic, this work delineates the intellectual contexts and sources of Duncan’s poetics, and opens a window onto the literary communities in which he participated.

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A landmark in the publication of twentieth-century American poetry, this first volume of the long-awaited collected poetry, non-critical prose, and plays of Robert Duncan gathers all of Duncan's books and magazine publications up to and including "Letters: Poems 1953-1956". Deftly edited, it thoroughly documents the first phase of Duncan's distinguished life in writing, making it possible to trace the poet's development as he approaches the brilliant work of his middle period. This volume includes the celebrated works "Medieval Scenes" and "The Venice Poem", all of Duncan's long unavailable major ventures into drama, his extensive "imitations" of Gertrude Stein, and the remarkable poems written in "Majorca" as responses to a series of collaged paste-ups by Duncan's life-long partner, the painter Jess. Books appear in chronological order of publication, with uncollected periodical and other publications arranged chronologically, following each book. The introduction includes a biographical commentary on Duncan's early life and works, and clears an initial path through the textual complexities of his early writing. Notes offer brief commentaries on each book and on many of the poems. The volume to follow, "The Collected Later Poetry and Plays", will include "The Opening of the Field" (1960), "Roots and Branches" (1964), "Bending the Bow" (1968), "Ground Work" (1984), and "Ground Work II" (1987).

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The description for this book, Contributions to the Theory of Games (AM-40), Volume IV, will be forthcoming.

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This magisterial work, long awaited and long the subject of passionate speculation, is an unprecedented exploration of modern poetry and poetics by one of America's most acclaimed and influential postwar poets. What began in 1959 as a simple homage to the modernist poet H.D. developed into an expansive and unique quest to arrive at a poetics that would fuel Duncan's great work in the 1970s. A meditation on both the roots of modernism and its manifestation in the work of H.D., Ezra Pound, D.H. Lawrence, William Carlos Williams, Edith Sitwell, and many others, Duncan's wide-ranging book is especially notable for its illumination of the role women played in creation of literary modernism. Until now, "The H.D. Book" existed only in mostly out-of-print little magazines in which its chapters first appeared. Now, for the first time published in its entirety, as its author intended, this monumental work - at once an encyclopedia of modernism, a reinterpretation of its key players and texts, and a record of Duncan's quest toward a new poetics - is at last complete and available to a wide audience.

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I am speaking now of the Dream in which America sleeps, the New World, moaning, floundering, in three hundred years of invasions, our own history out of Europe and enslaved Africa.Robert Duncan, from Groundwork Robert Duncan has been widely venerated as one of America's most essential poets: Allen Ginsberg described his poetry as "rapturous wonderings of inspiration," Gwendolyn Brooks called it "a subtle spice," and Susan Howe pointed to Duncan as "my precursor father," Lawrence Ferlinghetti said he "had the finest ear this side of Dante," and Robert Creeley called him "the magister, the singular Master of the Dance." Now Duncan's magnum opus, Groundwork, is available in one groundbreaking edition. The first volume, Groundwork I: Before the War, was published in 1984, after a fifteen-year publishing silence, and received immediate acclaim: it was nominated for a National Book Critics Circle Award and won the first National Poetry Award for Duncan's "lifetime devotion to the art of poetry and his grand achievement...." The second volume, Groundwork II: In the Dark, was published in February 1988, the month of Duncan's death. The internationally renowned poet Michael Palmer has written a marvelous introduction for this new edition, where "the singlemindedness of [Duncan's] life's work shows itself in the confident energy of every line" (Voice Literary Supplement).

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