Search results for ""Gertrude Stein" "Tender Buttons""

Book SynopsisA selection of the works of the author taken from the period between 1905 and 1936, when he was engaged in an astounding number of still-surprising literary experiments, whose innovations continue to influence various arts.Table of ContentsList of Abbreviations Introduction TEXTS Melanctha (excerpt, from Three Lives, 1905) The Making of Americans (excerpt, 1911) Picasso (1911) Flirting at the Bon Marche (1911) Bon Marche Weather (1911) Orta or One Dancing (excerpt, 1912) Susie Asado (1912) Tender Buttons: Objects, Food (1913) Scenes from the Door (from Useful Knowledge, 1918) Photograph (1920) A Movie (1920) An Elucidation (1923) If I Told Him, A Completed Portrait of Picasso (1923) Fourteen Anonymous Portraits (1923) Are There Arithmetics (1923) Business in Baltimore (1925) Composition as Explanation (1926) Patriarchal Poetry (excerpt, 1927) Sentences and Paragraphs (from How to Write, 1930) History or Messages from History (1930) We Came. A History (1930) Stanzas in Meditation (excerpt, 1932) Lecture I (from Narration, 1934) Identity a Poem (1935) What Are Master-pieces and Why Are There So Few of Them (1936) DOCUMENTS "With Apologies to Gertrude Stein," newspaper advertisement Two love notes from Stein to Toklas (n.d.): "Dear dainty delicious darling" and "Ir/Re/Sis/Ti /Belle" Virgil Thomson, Letter to Gertrude Stein (May 30, 1933) "Stein Opera Sung by All-Negro Cast," New York Times (February 9, 1934) Thornton Wilder, Introduction to Narration (1935) Selected Bibliography Acknowledgments of Permissions

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Book Synopsis The MLA Committee on Scholarly Editions has awarded Tender Buttons: The Corrected Centennial Edition its seal designating it an MLA Approved Edition.2014 marks the one hundredth anniversary of the original publication of Gertrude Stein''s groundbreaking modernist classic, Tender Buttons. This centennial edition is the first and only version to incorporate Stein''s own handwritten corrections—found in a first-edition copy at the University of Colorado—as well as corrections discovered among her papers at the Beinecke Library at Yale University. Editor Seth Perlow has assembled a text with over one hundred emendations, resulting in the first version of Tender Buttons that truly reflects its author''s intentions. These changes are detailed in Perlow''s Note on the Text, which describes the editorial process and lists the specific variants for the benefit of future scholars. The book includes facsimile images of some of Stein''s handwrittenTrade Review"Tender Buttons is a showcase of Stein's joyful draw to words."--Dina Weinstein, Jewish Book Council "What distinguishes this edition from others is over 100 edits, some indicated by Stein in her unmistakable handwriting found by editor Perlow in a first-edition copy held at the University of Colorado, as well as other corrections gleaned from her papers at Beinecke Library of Yale University and from the Library of America edition."--Karren LaLonde Alenier, Scene4 Magazine "She did in writing what Picasso and her other painter friends were doing in their Cubist painting. Writing had to be moved out of the grip of the nineteenth century. All naturalistic description, romanticism and sentimentality had to be left behind."--Renate Stendhal, San Francisco Bay Times "Tender Buttons is a dazzling work that rewards close study and requires a willingness to let go of the need for concrete, literal storytelling."--Christopher Luna, Rain Taxi Review of Books"Tender Buttons is a showcase of Stein's joyful draw to words."--Dina Weinstein, Jewish Book Council "What distinguishes this edition from others is over 100 edits, some indicated by Stein in her unmistakable handwriting found by editor Perlow in a first-edition copy held at the University of Colorado, as well as other corrections gleaned from her papers at Beinecke Library of Yale University and from the Library of America edition."--Karren LaLonde Alenier, Scene4 Magazine "She did in writing what Picasso and her other painter friends were doing in their Cubist painting. Writing had to be moved out of the grip of the nineteenth century. All naturalistic description, romanticism and sentimentality had to be left behind."--Renate Stendhal, San Francisco Bay Times "Tender Buttons is a dazzling work that rewards close study and requires a willingness to let go of the need for concrete, literal storytelling."--Christopher Luna, Rain Taxi Review of BooksTable of ContentsTender Buttons: Objects, Food, Rooms [The Corrected Text] Reception History by Juliana Spahr A Note on the Text by Seth Perlow

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Book SynopsisThe first publisher of Tender Buttons described the book’s effect on readers as “something like terror, there are no known precedents to cling to.” Written in pencil in a small notebook and barely revised after its first composition, the text caused a sensation and was widely reviewed and discussed on its publication. This edition of Gertrude Stein’s transformative work immerses the text in its cultural context. The most opaque of modernist texts, Tender Buttons also had modernism’s most voluminous and varied response.This Broadview Edition uses the response to Tender Buttons as a way of understanding this spectacular moment in publishing history. Stein’s text is published alongside its parodies, defenses, publicity brochure, and selections from the hundreds of responses to it in American daily newspapers, which placed it in the context of Cubism, fashion shows, and celebrity culture.Trade Review“Ever since I heard of Don Marquis’s parodies of Tender Buttons, I have been waiting for this edition. Stein’s art, for Mina Loy, ‘makes a demand for a creative audience, by providing a stimulus,’ and I felt that a parody was an interesting response to it. Now with Leonard Diepeveen’s superb, archive-based edition, I know that Marquis was one of many in the popular press in 1914 who went through bafflement by using her style, copying it to understand it. Stein wanted a new way to say, not explain, and the journalists followed suit. I now know that like the Cubists and Fauvists whose work drew massive crowds to the Armory Show in 1913, Stein had an audience, and it was a similar audience—and if this bellwether text was the literary analogue of the paintings, it did not disappoint. I know that when Stein later said ‘My sentences do get under their skin’ she was thinking back to this historical moment, this annus mirabilis, when to write about her led to writing like her; read and ‘the pesky flea has bitten you,’ said Alfred Kreymborg. Once again, we begin.” — Logan Esdale, Chapman University“Few modernist landmarks are as exhilarating in challenging the tyrannies of sense-making as Gertrude Stein’s Tender Buttons. Published originally by a one-man avant-garde press, the 78-page booklet caused an uproar among columnists who couldn’t decide whether it marked a revolution in language or a practical joke. But while the media made fun of Gertrude Stein, writers absorbed her rhythms and repetitions until her influence grew inexorable. Leonard Diepeveen’s edition makes Stein’s accomplishment more accessible than ever before. His excellent introduction brings alive the book’s writing and reception, and a broad selection of early reviews and commentary demonstrates how it both baffled and emboldened audiences. The Broadview Press edition of this wholly singular classic reveals both how and why the mater of modernism pushed literature’s buttons—sometimes tenderly, sometimes not.” — Kirk Curnutt, Troy University“This terrific edition of Gertrude Stein’s Tender Buttons vividly situates the text in its moment of publication in 1914. The editors provide, as footnotes, Stein’s own corrections to errata in the Marie Claire edition, and follow up with a generous sampling of print reviews and press reactions. In addition to classic statements by Mencken and Van Vechten, readers will find very keen and rewarding treatments of Tender Buttons by arts patron Mabel Dodge and poet Mina Loy. These and the other respondents, imitators, critics and celebrants brought together in this volume offer an historical center of gravity for a poetic text that challenges readers to ‘Act so there is no use in a center.’” — Patricia Schechter, Portland State UniversityTable of ContentsAcknowledgementsIntroductionGertrude Stein: A Brief ChronologyA Note on the TextTender ButtonsAppendix A: Manuscript Pages of “A Seltzer Bottle,” Tender ButtonsAppendix B: Claire Marie Publicity Brochure for Tender ButtonsAppendix C: Gertrude Stein on Tender Buttons On Her Reception On Words On Interpretation Appendix D: Reviews and Contemporary Comment Generala. “Literary Notes,” St. Joseph News-Press (8 August 1914)b. Mabel Dodge, “Speculations, or Post-Impressionism in Prose,” Arts and Decoration (March 1913)c. Alfred Kreymborg, “Gertrude Stein—Hoax and Hoaxtress,” New York Morning Telegraph (7 March 1915)d. Carl Van Vechten, “How to Read Gertrude Stein,” Trend (1914)e. From Mina Loy, “Gertrude Stein,” Transatlantic Review (1924)f. “Flat Prose,” Atlantic Monthly (September 1914)g. “Gertrude Stein,” New York City Call (7 June 1914)h. “Time to Show a Message,” Omaha World Herald (7 June 1914) Cubism and Futurisma. From Mary Mills Lyall, The Cubies’ ABC (1913)b. “Cubist Literature,” San Antonio Light (14 June 1914)c. “What Is Lunch?,” Chicago Tribune (12 June 1914)d. “Gertrude Stein as Literary Cubist,” Philadelphia North American (13 June 1914)e. G.V.S., “Tender Buttons,” Pittsburgh Sun (17 July 1914)f. H.L. Mencken, “A Cubist Treatise,” Baltimore Sun (6 June 1914) Celebrity and Mass Culturea. Oscar Odd McIntyre, “Day by Day in New York,” Bridgeport Post (13 July 1914)b. Marguerite Mooers Marshall, “No Straight Lines,” Toledo Blade (9 July 1914)c. “Futurist Man’s Dress to Be a One-Piece Suit With One Button and Twinkling in Colors,” Toledo Blade (9 July 1914)d. “Gertrude Stein of the Stage,” Pittsfield Eagle (4 November 1914) Parodiesa. From Franklin P. Adams, “The Conning Tower,” Cleveland Leader (23 June 1914)b. “The Futurist on the Trade,” New York City Daily Trade Record (18 June 1914)c. “Our Own Polo Guide: The Game Explained a la Gertrude Stein,” New York Evening Sun (13 June 1914)d. Don Marquis, “Gertrude Stein on the War,” New York Evening Sun (2 October 1914)e. A.S.K. [Alexander S. Kaun], “The Same Book from Another Standpoint,” Little Review (July 1914) Works Cited and Select Bibliography

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Book SynopsisThis source book provides an understanding of contemporary writing which articulates the multidisciplinary and polytextual nature of this writing's core investigations.Trade Review“Ok murky in alter all end, unpredictable day, with rainshine any degree night, the sun kin warm and hot. Enough stone or other jugs lineup of whatever is In Through Out That’s light as much as known Differences evanesce Like, where and/or what on the equator might be french or spanish Longitude and latitude, yep yep sure Americana.”―Larry Eigner, commentary on a selection from Ger­trude Stein’s Tender Buttons“In 1978, a new magazine appeared on the American poetry scene. The magazine, strangely titled L=A=N=G=U=A=G=E, became during its four years of publication a main forum for a group of young writers keen to engage in theoretical speculation and debate about their medium. L=A=N=G=U=A=G=E disappeared in 1981, but its name has lingered on, mainly as a means of designating a highly varied body of work which was shaped by the emerging protocols of the magazine.”―Peter Middleton, Contemporary Poetry Meets Modern Theory“The L=A=N=G=U=A=G=E Book was instrumental, not simply to laying a foundation for an urgently needed new sense of writing, but to vividly ar­ticulating the multidisciplinary and polytextual sweep of this writing’s core investigations.” ―Loss Pequeño Glazier, Dictionary of Literary Biography“L=A=N=G=U=A=G=E is a perpetual intellectual delight, especially wel­come for its cogent reviews of small press publications. The editors, who are just as much at ease with Walter Benjamin and Gertrude Stein as . . . Tom Raworth, offer a wide variety of critical materials. . . . The perceptive re­views and comments make this a small gem.” ―Bill Katz, Library Journal“For over twenty years, in magazines such as… L=A=N=G=U=A=G=E… this movement has given us a body of writing that may be the most signifi­cant since the modernists.”―Hank Lazer, The Nation“An essential source. With its blend of voices and crisscrossing dialogues, the book has an almost novelistic density.” ―Voice Literary Supplement“It is one of the first journals to extend directly from a concern for language as a ground base for poetry and one of the few magazines to provide an open forum for discussions of poetics by the writers themselves.” ―Michael Davidson, Archive for New Poetry Newsletter“Apropos favorite books of the past year’s reading ... I read more absorbedly books like L=A=N=G=U=A=G=E… than I did much else.”―Robert Creeley, The Poetry Project Newsletter“Attempting to make it new.” ―Donald Hall, Times Literary Supplement

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Book SynopsisModernism: An Anthology is the most comprehensive anthology of Anglo-American modernism ever to be published. * Amply represents the giants of modernism - James Joyce, Gertrude Stein, Virginia Woolf, T.S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, Samuel Beckett.Trade Review"Lawrence Rainey, one of the leading modernist scholars in the world today, has produced an anthology ideally suited for the classroom. The attention to Continental developments as well as central Anglo-American texts distinguishes the volume from others now available to students. The range of writers, the judiciousness of the selection, and the expert introduction should make this the leading text in the field." Professor Michael Levenson, University of Virginia "He has been marvelously selective. There are no secret traditionalists here, no writers included merely for their prominence in modernism's historical moment or for modern themes alone; all are hardcore, the real thing." James Joyce QuarterlyTable of ContentsAcknowledgments. Introduction. A Note on the Selection, Texts, and Order of Presentation. CONTINENTAL INTERLUDE I: Futurism (1909–14). F. T. Marinetti The Founding and the Manifesto of Futurism (Feb. 1909). F. T. Marinetti Futurist Speech to the English (Dec. 1910). F. T. Marinetti Contempt for Woman (from Le Futurisme, 1911). Balla, Boccioni, Carra`, Russolo, Severini The Exhibitors to the Public (Feb. 1912) F. T. Marinetti Technical Manifesto of Futurist Literature (May 1912). F. T. Marinetti A Response to Objections (Aug. 1912). Luigi Russolo The Art of Noises: A Futurist Manifesto (Mar. 1913). F. T. Marinetti Destruction of Syntax–Wireless. Imagination–Words-in-Freedom (May 1913). F. T. Marinetti The Variety Theater (Sept. 1913). Ezra Pound. Poems. The Seafarer (1911). Portrait d’une Femme (1912). The Return (1912). In a Station of the Metro (1913). Salutation the Third (1914). Meditatio (1914). Song of the Bowmen of Shu (1915). The River-Merchant’s Wife: A Letter (1915). Poem by the Bridge at Ten-Shin (1915). The Jewel Stairs’ Grievance (1915). The Coming of War: Actaeon (1915). Shop Girl (1915). O Atthis (1916). The Lake Isle (1916). Hugh Selwyn Mauberley (1920). From The Cantos. Canto I (1917/1925). The Malatesta Cantos, VIII to XI (1923). Canto LXXXI (1948). From Canto CXV (1969). Essays. Imagisme (1912). A Few Don’ts by an Imagiste (1912). Vortex. Pound. (1914). The Chinese Written Character as Medium for Poetry (1918). T. S. Eliot. Poems. The Love Song of J. Alfred Prufrock (1915). La Figlia che piange (1916). Sweeney Among the Nightingales (1918). Sweeney Erect (1919). Gerontion (1920). The Waste Land (1922). Drama. Sweeney Agonistes (1932). Essays. Tradition and the Individual Talent (1919). The Lesson of Baudelaire (1921). London Letter: May 1921. London Letter: November 1922 (Marie Lloyd). Ulysses, Order, and Myth (1923). Charles Baudelaire (Introduction to Journaux intimes) (1930). Wyndham Lewis. Fiction. Enemy of the Stars (1914). Bestre (1922). The Death of the Ankou (1927). Essays. Manifesto (1914). Inferior Religions (1917). Foreword to Tyros and Portraits (1921). The Children of the New Epoch (1921). James Joyce. Araby (1914), from Dubliners. A Little Cloud (1914), from Dubliners. Aeolus (1922), from Ulysses. Nausicaa (1922), from Ulysses. Anna Livia Plurabelle (1939), from Finnegans Wake. W. B. Yeats. Poems. A Coat (1914). The Wild Swans at Coole (1917). In Memory of Major Robert Gregory (1918). Easter, 1916 (1920). The Second Coming (1920). The Tower (1928). Sailing to Byzantium (1927). The Tower (1927). Meditations in Time of Civil War (1923). Nineteen Hundred and Nineteen (1921). The Wheel (1922). Youth and Age (1924). The New Faces (1922). A Prayer for my Son (1922). Two Songs from a Play (1927). Wisdom (1927). Leda and the Swan (1924). On a Picture of a Black Centaur by Edmund Dulac (1922). Among School Children (1927). Colonus’ Praise (1928). The Hero, the Girl, and the Fool (1922). Owen Ahern and his Dancers (1924). A Man Young and Old (1927). The Three Monuments (1927). From ‘Oedipus at Colonus’ (1927). The Gift of Harun Al-Rashid (1924). All Souls’ Night (1921). Poems after The Tower. Crazy Jane and the Bishop (1930). Byzantium (1932). Coole and Ballylee, 1931 (1932). Come Gather Round Me Parnellites (1937). The Statues (1939). The Spur (1939). The Circus Animals’ Desertion (1939). Drama. At the Hawk’s Well (1916). Essays. Note on the First Performance of ‘‘At the Hawk’s Well’’ (1917). ‘‘Introduction’’ to Certain Noble Plays of Japan (1916). Rapallo (1929). Gertrude Stein. Prose Poems and Portraits. Tender Buttons (1914). Tourty or Tourtebattre (1922). A Sweet Tail (Gypsies) (1922). A Description of the Fifteenth of November: A Portrait of T. S. Eliot (1924) Essays. Composition as Explanation (1926). What Are Master-pieces and Why Are There So Few of Them (1940). Mina Loy. Poems. Virgins Plus Curtains Minus Dots (1915). The Effectual Marriage, or the Insipid Narrative of Gina and Miovanni (1917). Human Cylinders (1917). Joyce’s Ulysses (1922). Brancusi’s Golden Bird (1922). Lunar Baedeker (1923). Gertrude Stein (1924). Essays. Aphorisms on Futurism (1914). Psycho-Democracy (1921). Gertrude Stein (1924). Modern Poetry (1925). H.D. Poems. Orchard (1913). Oread (1914). Mid-day (1915). Garden (1915). Sea Rose (1916). Night (1916). Eurydice (1917). Leda (1921). She Rebukes Hippolyta (1921). Demeter (1921). Helen (1924). Triplex (1931). Magician (1933). CONTINENTAL INTERLUDE II: DADA (1916–22). Richard Huelsenbeck En Avant Dada: A History of Dadaism (1920). Hugo Ball Dada Fragments (1916–17). Tristan Tzara Dada Manifesto 1918. Kurt Schwitters Merz (1920). Andre´ Breton For Dada (1920). Marcel Duchamp and Man Ray New York Dada (1921). Andre´ Breton After Dada (1922). William Carlos Williams. Poems. Spring and All (1923). Essays. Marianne Moore (1925). A Draft of XXX Cantos by Ezra Pound (1930). A Note on the Recent Work of James Joyce (1927). The Work of Gertrude Stein (1930). Ford Madox Ford. Fiction. Pink Flannel (1919). The Colonel’s Shoes (1920). The Miracle (1928). Essays. On Impressionism (1914). Dorothy Richardson. Fiction. Sunday (1919). Death (1924). The Garden (1924). Sleigh Ride (1926). Nook on Parnassus (1935). Essays. The Reality of Feminism (1917). Women and the Future (1924). Women in the Arts (1925). Continuous Performance (1932). Adventure for Readers (1939). Wallace Stevens. Poems. Sunday Morning (1915). Earthy Anecdote (1918). Le Monocle de Mon Oncle (1918). The Paltry Nude Starts on a Spring Voyage (1919). Anecdote of the Jar (1919). The Snow Man (1921). Tea at the Palaz of Hoon (1921). The Ordinary Women (1922). The Revolutionists Stop for Orangeade (1931). Idea of Order at Key West (1934). The Poems of Our Climate (1938). Esthe´tique du Mal (1944). The Auroras of Autumn (1948). Prose. The Noble Rider and the Sound of Words (1942). Marianne Moore. Poems from Observations. To a Steam Roller (1915). Pedantic Literalist (1916). The Fish (1918). Poetry (1919). England (1920). A Grave (1921). New York (1921). Marriage (1923). To a Snail (1924). [Moore’s Notes for Poems through 1924]. Poems after Observations. The Steeple-Jack (1932). No Swan so Fine (1932). The Jerboa (1932). Camellia Sabina (1935). The Paper Nautilus (1940). What Are Years (1940). He ‘‘Digesteth Harde Yron’’ (1941). [Moore’s Notes for Poems after 1924]. Essays. The Sacred Wood (1921). Hymen (1923). Well Moused, Lion (1924). A Poet of the Quattrocento (1927). A House-Party (1928). A Draft of XXX Cantos (1931). Ideas of Order (1936). Rebecca West. Fiction. Indissoluble Matrimony (1914). Essays. The Freewoman (1926). High Fountain of Genius (1928). What Is Mr. T.S. Eliot’s Authority as a Critic? (1932). CONTINENTAL INTERLUDE III: SURREALISM (1922–39). Andre´ Breton Manifesto of Surrealism (1924). Andre´ Breton The Mediums Enter (1922). Robert Desnos Midnight at Two O’Clock (1928). Michel Leiris From the Heart to the Absolute (1929). Andre´ Breton and Paul Eluard The Possessions, from the Immaculate. Conception (1930). Nancy Cunard. Poems. Wheels (1916). The Carnivals of Peace (1916). Evenings (1921). Voyages North (1921). Horns in the Valley (1923). Simultaneous (1930). Essays and Reportage. Black Man and White Ladyship (1931). Harlem Reviewed (1934). The Exodus from SpaIn (1939). Mary Butts. Fiction. Speed the Plough (1921). Widdershins (1924). The House-party (1930). Green (1931). Friendship’s Garland (1925). Hart Crane. Poems. My Grandmother’s Love Letters (1920). Black Tambourine (1921). Chaplinesque (1921). Praise for an Urn (1922). The Wine Menagerie (1926). At Melville’s Tomb (1926). Voyages (1926). O Carib Isle! (1927). Island Quarry (1927). Bacardi Spreads the Eagle’s Wings (1927). To Emily Dickinson (1927). The Mermen (1928). The Broken Tower (1932). Essays. The Case against Nietzsche (1918). Joyce and Ethics (1918). Modern Poetry (1930). Virginia Woolf. Fiction. Between the Acts (1941). Essays. Modern Fiction (1919/1925). Mr Bennet and Mrs Brown (1923). The Narrow Bridge of Art (1927). The Leaning Tower (1940). Djuna Barnes. Fiction and Literary Drama. To the Dogs (1923). Mother (1920). A Night Among the Horses (1918). Aller et Retour (1929). A Little Girl Tells a Story to a Lady (1925). The Passion (1924). Jean Rhys. Fiction. Vienne (1924). Illusion (1927). Mannequin (1927). Tea with an Artist (1927). Mixing Cocktails (1927). Again the Antilles (1927). Elizabeth Bowen. Fiction. Coming Home (1923). Foothold (1929). The Apple Tree (1934). Attractive Modern Homes (1941). In the Square (1941). Mysterious Kôr (1944). The Happy Autumn Fields (1944). Eugene Jolas. Notes (1928). Revolution of the Word (1929). Notes on Reality (1929). What is the Revolution of Language (1933). Samuel Beckett. Fiction. Texts for Nothing (1955). Drama. Endgame (1957). Essays. Dante … Bruno . Vico . . Joyce (1929). Three Dialogues (1948). Poems. Whoroscope (1930). Ennueg II (1935). Echo’s Bones (1935). Ooftish (1938). What is the Word (1990). CONTINENTAL INTERLUDE IV: THE FRANKFURT SCHOOL (1923–60). Walter Benjamin Surrealism: the Last Snapshot of the European Intelligentsia (1929). Walter Benjamin The Work of Art in the Age of Mechanical Reproduction (1936). Theodor Adorno Looking Back on Surrealism (1956). Theodor Adorno Trying to Understand Endgame (1961). Bibliography. Index of Authors and Titles

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Book SynopsisAn unconventional take on the corpse challenges traditional conceptions of who—and what—counts as human, while offering bold insights into the modernist project Too often regarded as the macabre endpoint of life, the corpse is rarely discussed and largely kept out of the public eye. In The Modernist Corpse, Erin E. Edwards unearths the critically important but previously buried life of the corpse, which occupies a unique place between biology and technology, the living and the dead. Exploring the posthumous as the posthuman, Edwards argues that the corpse is central to understanding relations between the human and its “others,” including the animal, the machine, and the thing.From photographs of lynchings to documentation of World War I casualties, the corpse is also central to the modernist project. Edwards turns critical attention to the corpse through innovative, posthumanist readings of canonical thinkers such as William Faulkner, Jean Toomer, W. E. B. Du Bois, Mina Loy, Djuna Barnes, and Gertrude Stein, offering new insights into the intersections among race, gender, technical media, and matter presumed to be dead. Edwards’s expansive approach to modernism includes diverse materials such as Hollywood film, experimental photography, autopsy discourses, and the comic strip Krazy Kat, producing a provocatively broad understanding of the modernist corpse and its various “lives.”The Modernist Corpse both establishes important new directions for modernist inquiry and overturns common thought about the relationship between living and dead matter. Trade Review"The Modernist Corpse is a far-reaching and original study of the complexity of the cultural categories that organize representations of human life and death in modernist writing and art. Erin E. Edwards brings together an impressive range of writers, genres, and media, reflecting that increasingly expansive sense, among literary historians, of modernism's archive."—David Sherman, author of In a Strange Room: Modernism's Corpses and Mortal Obligation"The Modernist Corpse combines historically informed close readings of early twentieth-century works with an insistence on cultural and theoretical concerns that were barely visible at the time these works were made, but that loom large today, in retrospect. Erin E. Edwards shows us that American writers of a century ago—Faulkner, Toomer, Barnes, and Stein—were already struggling with the dilemmas of what we see today as the posthuman condition."—Steven Shaviro, author of The Universe of Things: On Speculative Realism"The Modernist Corpse is a brilliant study of the costly differentiation between human and non-human as a legacy of the Cartesian separation of mind and body, such a division responsible for categorical boundaries warranting epistemological and ontological assumptions that organize western social hierarchies, including those of gender, race, and class. Erin Edwards’ readings of Faulkner, Toomer, Djuna Barnes, and numerous others are extraordinarily original in their demonstration of how modern literature is intent on imagining a ‘posthuman humanness.’ The Modernist Corpse is a splendid book—intellectually tense, stylish, and relentlessly provocative."—John T. Matthews, Boston University"The Modernist Corpse vividly demonstrates that the posthumous and the posthuman are neither finite nor conclusive. Rather, these terms index conditions of possibility."—American Literary History Online Review"Through her posthumanist approach, Edwards infuses new life into the Modernist canon."—The Goose"The Modernist Corpse attempts not only to reanimate the corpse in modernism but to reimagine experimental modernism itself by rereading and reassembling its corpus."—Critical InquiryTable of ContentsContentsAcknowledgmentsIntroduction: A Modernist Body Count1. Inhuman Remains: The Production and Decomposition of the Human in William Faulkner’s South2. Autopsy-Optics: Jean Toomer’s Cane through the Photographic Lens3. Sutures and Grooves: Mina Loy, Baroness Elsa, and the Corpus of Early-Twentieth-Century Media4. Love and Corpses: Djuna Barnes's Queer PosthumanismCoda. In Kind Cuts: Gertrude Stein’s Tender Buttons and the Nonhuman CorpseNotesIndex

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Book SynopsisAn unconventional take on the corpse challenges traditional conceptions of who—and what—counts as human, while offering bold insights into the modernist project Too often regarded as the macabre endpoint of life, the corpse is rarely discussed and largely kept out of the public eye. In The Modernist Corpse, Erin E. Edwards unearths the critically important but previously buried life of the corpse, which occupies a unique place between biology and technology, the living and the dead. Exploring the posthumous as the posthuman, Edwards argues that the corpse is central to understanding relations between the human and its “others,” including the animal, the machine, and the thing.From photographs of lynchings to documentation of World War I casualties, the corpse is also central to the modernist project. Edwards turns critical attention to the corpse through innovative, posthumanist readings of canonical thinkers such as William Faulkner, Jean Toomer, W. E. B. Du Bois, Mina Loy, Djuna Barnes, and Gertrude Stein, offering new insights into the intersections among race, gender, technical media, and matter presumed to be dead. Edwards’s expansive approach to modernism includes diverse materials such as Hollywood film, experimental photography, autopsy discourses, and the comic strip Krazy Kat, producing a provocatively broad understanding of the modernist corpse and its various “lives.”The Modernist Corpse both establishes important new directions for modernist inquiry and overturns common thought about the relationship between living and dead matter. Trade Review"The Modernist Corpse is a far-reaching and original study of the complexity of the cultural categories that organize representations of human life and death in modernist writing and art. Erin E. Edwards brings together an impressive range of writers, genres, and media, reflecting that increasingly expansive sense, among literary historians, of modernism's archive."—David Sherman, author of In a Strange Room: Modernism's Corpses and Mortal Obligation"The Modernist Corpse combines historically informed close readings of early twentieth-century works with an insistence on cultural and theoretical concerns that were barely visible at the time these works were made, but that loom large today, in retrospect. Erin E. Edwards shows us that American writers of a century ago—Faulkner, Toomer, Barnes, and Stein—were already struggling with the dilemmas of what we see today as the posthuman condition."—Steven Shaviro, author of The Universe of Things: On Speculative Realism"The Modernist Corpse is a brilliant study of the costly differentiation between human and non-human as a legacy of the Cartesian separation of mind and body, such a division responsible for categorical boundaries warranting epistemological and ontological assumptions that organize western social hierarchies, including those of gender, race, and class. Erin Edwards’ readings of Faulkner, Toomer, Djuna Barnes, and numerous others are extraordinarily original in their demonstration of how modern literature is intent on imagining a ‘posthuman humanness.’ The Modernist Corpse is a splendid book—intellectually tense, stylish, and relentlessly provocative."—John T. Matthews, Boston University"The Modernist Corpse vividly demonstrates that the posthumous and the posthuman are neither finite nor conclusive. Rather, these terms index conditions of possibility."—American Literary History Online Review"Through her posthumanist approach, Edwards infuses new life into the Modernist canon."—The Goose"The Modernist Corpse attempts not only to reanimate the corpse in modernism but to reimagine experimental modernism itself by rereading and reassembling its corpus."—Critical InquiryTable of ContentsContentsAcknowledgmentsIntroduction: A Modernist Body Count1. Inhuman Remains: The Production and Decomposition of the Human in William Faulkner’s South2. Autopsy-Optics: Jean Toomer’s Cane through the Photographic Lens3. Sutures and Grooves: Mina Loy, Baroness Elsa, and the Corpus of Early-Twentieth-Century Media4. Love and Corpses: Djuna Barnes's Queer PosthumanismCoda. In Kind Cuts: Gertrude Stein’s Tender Buttons and the Nonhuman CorpseNotesIndex

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Book SynopsisReveals the revolutionary concepts at the very heart of twentieth-century poetry. This volume offers three 'galleries' of individual poets - figures such as Mallarme, Stein, Rilke, Tzara, Mayakovsky, Pound, H D, Vallejo, Artaud, Cesaire, and Tsvetayeva.Trade Review"Poems for the Millennium: Part One is ... one of the very best of its kind." Kaurab OnlineTable of ContentsIntroduction Thanks and Acknowledgments FORERUNNERS Prologue to Forerunners William Blake "Obey thou the Words of the Inspired Man" Friedrich Holderlin In the Days of Socrates Elias Lonnrot from The Kaleva/a Walt Whitman This Compost Charles Baudelaire Fuses I & II Emily Dickinson Fascicle 34 Poem 9 Bald Mountain Zaum-Poems Gerard Manley Hopkins That Nature is a Heraclitean Fire and of the Comfort of the Resurrection Isidore Ducasse, Comte de Lautreamont from Maldoror Arthur Rimbaud from A Season in Hell After Bitahatini from The Night Chant Stephane Mallarme from Le Livre A FIRST GALLERY Stephane Mallarme A Throw of the Dice Never Will Abolish Chance C. P. Cavafy Waiting for the Barbarians Days of 1908 And I Lounged and Lay on their Beds Adolf Wolfli Nostalgic Song for My Beloved from From the Cradle to the Graave, or, through working and sweating, suffering and hardship, even through prayyer into damnation Match Factory at Chaami 1911 Ruben Darlo Far Away and Long Ago To Roosevelt Paul Valery Crusoe Alfred Jarry The Passion of Jesus Considered as an Uphill Race Gertrude Stein from Tender Buttons A Valentine to Sherwood Anderson from Lifting Belly Rainer Maria Rilke Death Tombs of the Hetaerae The First Duino Elegy Max Jacob 1914 from The Cock and the Pearl Andrey Bely from The Dramatic Symphony Guillaume Apollinaire Horse Calligram Zone A Phantom of Clouds from Poems for Lou The Little Car from Victoire Pablo Picasso A Bottle of Suze Franz Kafka Before the Law Mina Loy from Love Songs to ]oannes Three Moments in Paris Dino Campana Genoa Fernando Pessoa "The startling reality of things" from Maritime Ode from Oblique Rain Ezra Pound Papyrus The Return Canto One Hagiwara Sakutaro Chair Spring Night Lover of Love So Terrifyingly Melancholy Blaise Cendrars The Great Fetishes from The Prose of the Trans-Siberian and of Little Jeanne of France Marcel Duchamp The 1914 Box Giuseppe Ungaretti THREE POEMS Mattina/ Morning Soldiers Babel The Rivers Pierre Reverdy Secret Flower Market Inn Squares Vicente Huidobro Ars Poetica CowBoy Express FUTURISMS Prologue to Futurism I Carlo Carra Demonstration for Intervention in the War F. T. Marinetti from The Manifesto of Futurism Apres Ia Marne, Joffre visita le front en auto from Zang Tumb Tuuum Successively from The Variety Theater Manifesto FOUR SINTESI Francesco Cangiullo: Detonation F. T. Marinetti: A Landscape Heard F. T. Marinetti: They Are Coming Fortunato Depero: Colors Paolo Buzzi Finger-Nails Aldo Palazzeschi The Stranger Nuns Go Walking Prologue to Futurism II Vasily Kamensky Constantinople: Ferroconcrete Poem D. Burliuk, Aleksandr Kruchenykh, V. Mayakovsky, Viktor Khlebnikov from A Slap in the Face of Public Taste Velimir Khlebnikov Incantation by Laughter Four Poems from Zangezi Aleksei Kruchenykh Declaration of the Word as Such from Pomade From the Sahara to America Vladimir Mayakovsky Listen from A Cloud in Trousers Screaming My Head Off Mayakovsky's Suicide Note Anatol Stern Europa EXPRESSIONISM Prologue to Expressionism Wassily Kandinsky Sounds Chalk and Soot Else Lasker-Schiiler Chronica THREE PORTRAITS Georg Trakl George Grosz To the Barbarian: August Stramm Encounter Urdeath Battlefield Paul Klee The Wolf Speaks Poem A Friend The Happy One Poem Gottfried Benn Little Aster Lovely Childhood Cycle Man and Woman Go through the Cancer Ward Night Cafe A Bunch of Drifter Sons Hollered GeorgTrakl Sleep The Evening De Profundis Revelation and Decline DADA Prologue to Dada Tristan T zara Zurich Chronicle February I9I6 Hugo Ball The Sun from Flight Out of Time The Complete Sound-Poems of Hugo Ball Tristan Tzara Metal Coughdrops Chanson Dada from Dada Manifesto on Feeble & Bitter Love The Great Lament of My Obscurity Three Richard Huelsenbeck "We Hardly" Richard Huelsenbeck, Marcel Janko, Tristan Tzara L'amiral cherche une maison a louer Hans Arp Kaspar Is Dead People The Great Unrestrained Sadist The Man. The Woman Francis Picabia Spermal Chimney from Eunuch Unique Portrait de Tristan Tzara Marcel Duchamp Speculations SURcenSURE Cast Shadows Else von Freytag-Loringhoven Affectionate Holy Skirts Kurt Schwitters Desire Portrait of Herwarth Walden Anna Blossom Has Wheels Murder Machine 43 from Ur Sonata Theo van Doesburg Still Life: The Table Remembrance of the Founts of Night Georges Ribemont-Dessaignes Artichokes Andre Breton The Mystery Corset Andre Breton & Philippe Soupault from The Magnetic Fields A SECOND GALLERY William Butler Yeats from A Vision and The Second Coming Gertrude Stein Identity a Poem Rainer Maria Rilke The Eighth Duino Elegy Wallace Stevens Dance of the Macabre Mice Connoisseur of Chaos James Joyce from Ulysses William Carlos Williams The Locust Tree in Flower Paterson D. H. Lawrence Tortoise Shout Ezra Pound Canto 32 Canto 51 H. D. (Hilda Doolittle) from Tribute to the Angels Marianne Moore Sea Unicorns and Land Unicorns T. S. Eliot [The Waste Land] St.-John Perse from Anabasis Edith Sitwell from Far;ade Still Falls the Rain The Madwoman in the Park Osip Mandelstam from Tristia Whoever Finds a Horseshoe Poem No. 286 (On Stalin) The Charlie Chaplin Poem Last Poems Edith Sodergran Hell Vierge Moderne Instinct Cesar Vallejo from Tri/ce: IX, XXV, LXXV The Hungry Man's Wheel Telluric and Magnetic Vicente Huidobro from Altazor: Cantos I, VI, vn Jorge de Lima Distribution of Poetry Papa John The Enormous Hand Poem of Any Virgin J. V. Foix When I Sleep, Then I See Clearly I Arrived in That Town, Everyone Greeted Me, and I Recognized No One. When I Was Going to Read My Verses, the Devil, Hidden behind a Tree, Called Out to Me Sarcastically and Filled My Hands with Newspaper Clippings Marina Tsvetayeva from The Poem of the End e. e. cummings No Thanks, No. 70 Poem, or Beauty Hurts Mr. Vinal Lucian Blaga I Will Not Crush the World's Corolla of Wonders Psalm Jacob Glatshteyn To a Friend Who Wouldn't Bother to Strain His Noodleboard Because Even So It Is Hard to Go Hunting When Your Rifle Is Blunt and Love Is Soft as an Old Blanket Eugenio Montale The Lemon Trees The Eel Little Testament Paul van Ostaijen The Murderers Hart Crane The Mango Tree The Circumstance 0 Carib Isle! Federico Garcia Lorca Night Suite, for Piano & Poet's Voice Ode for Walt Whitman SURREALISM Prologue to Surrealism Andre Breton from Manifesto of Surrealism (1924) Robert Desnos Trance Event Language Event One Language Event Two Andre Breton A Man and Woman Absolutely White Free Union Poem-Object On the Road to San Romano Go for Broke Philippe Soupault FOUR POEMS Route Life-Saving Medal Sporting Goods Sunday Comrade Louis Aragon Poem to Shout in the Ruins Benjamin Peret My Final Agonies Joan of Arc On All Fours Robert Desnos Cuckoo Midway Epitaph Tristan Tzara Maison Aragon from The Approximate Man Gisele Prassinos Hair Tonic A Conversation Paul Eluard & Andre Breton from The Immaculate Conception Salvador Dali The Great Masturbator Max Ernst from The Hundred Headless Woman Anton in Artaud All Writing Is Garbage The Spurt of Blood "OBJECTIVISTS" Prologue to "Objectivists" Ezra Pound Vortex. Pound. William Carlos Williams from Spring and All Louis Zukofsky from Poem Beginning "The" George Oppen Discrete Series Charles Reznikoff Testimony Carl Rakosi A Journey Away Basil Bunting from The First Book of Odes "Weeping oaks grieve, chestnuts raise" Vestiges NEGRITUDE Prologue to Negritude Aime Cesaire Macumba Word Aime Cesaire & Rene Depestre from Discourse on Colonialism Leopold Sedar Senghor Speech and Image: An African Tradition of the Surreal Taga for Mbaye Dy6b Man and Beast The Kaya-Magan Leon Damas Just Like the Legend S.O.S. Hiccups Aime Cesaire from Notebook of a Return to the Native Land The Miraculous Weapons A THIRD GALLERY Anna Akhmatova Requiem Nelly Sachs Chorus of the Dead Chorus of the Stars Hugh MacDiarmid from A Drunk Man Looks at the Thistle David Jones Miyazawa Kenji Spring and the Ashura Daydreaming on the Trail Pictures of the Floating World Bertolt Brecht First Psalm (Posthumous) Three Fragments Alabama Song Melvin B. Tolson from The Harlem Gallery: Book I, the Curator Henri Michaux from Slices of Knowledge Tomorrow Francis Ponge The Oyster from The Sun Placed in the Abyss Wen Yiduo (Wen I-to) Dead Water Miracle Vitezslav Nezval City with Towers Trap Door George Seferis The Poplar Leaf Mathios Paskalis among the Roses Les Anges sont blancs Laura Riding Elegy in a Spider's Web Gyula lllyes Logbook of a Lost Caravan Work While the Record Plays Nazim Hikmet Letters from Chankiri Prison Langston Hughes from Montage of a Dream Deferred Carlos Drummond de Andrade The Dead in Frock Coats 6 The Dirty Hand Motionless Faces 6 Lorine Niedecker News Subliminal Nicolas Guillen Don't Know No English Sense maya Wake for Papa Montero Moon The Usurers from The Daily Daily Pablo Neruda Walkin' Around Sexual Water Only Death Louis Zukofsky from Songs of Degrees "A" 1 Kenneth Rexroth from Prolegomena to a Theodicy Kusano Shimpei Birthday Party 4 or 5 Tadpoles Skylarks and Fuji Gunnar Ekelof Like Ankle-Rings, This Music If You Ask Me Hangman Absentia Animi Rene Char from Leaves of Hypnos Roger Gilbert-Lecomte Preface or The Drama of Absence in an Eternal Heart The Son of the Bone Speaks Old Precept of the Dead World Wink Rene Daumal from Clavicles for a Great Poetic Game Persephone That Is to Say Double Issue Short Revelation Concerning Death and Chaos Miklos Radnoti The Angel of Dread Seventh Eclogue YiSang from Crow's-Eye View Paper Memorial Stone Soyong Problems from Critical Condition Muriel Rukeyser The Dam Octavio Paz Hymn among the Ruins A BOOK OF ORIGINS Prologue to Origins Confucius I Ezra Pound from The Great Digest Orpingalik "Songs are thoughts, sung out with the breath ... " Alcheringa Definitions Leopold Sedar Senghor "The African image is not an image by equation ... " Allama Prabhu For the Lord of Caves Clayton Eshleman Placements I Robert Duncan from Rites of Participation Amiri Baraka (LeRoi Jones) from Why's I Wise Aborigine Sound Poem Lily Events from The Goulburn Island Cycle Tristan Tzara from Poemes Negres The Dance of the Greased Women Tropical Winter Awotunde Aworinde from I fa Suite in Praise of the Yoruba Oracle Aime Cesaire Ex-Voto for a Shipwreck Three for Bear Seven Songs & Song Pictures Richard Johnny John, Jerome Rothenberg, lan Tyson Songs from the Society of the Mystic Animals Simon Ortiz Telling about Coyote from Cantares Hexicanos Maria Sabina from The Midnight Velada The 13th Horse Song of Frank Mitchell from The I Ching The Marrying Maiden Jackson Mac Low Mani-Mani Gatha Ezra Pound Canto 49 Charles Olson The Song of Ullikummi Armand Schwerner TabletV from The Thunder, Perfect Mind Diane di Prima from Loba Doc Reese 01' Hannah Bessie Smith Black Mountain Blues Naftali Bacharach A Poem for the Sefirot as a Wheel of Light Jacques Gaffarel Celestial Alphabet Event Edmond Jabes from The Book of Questions Credits Index of Authors

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