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Posts Tagged ‘Sarah Barnsley’

2017

CONTENTS

Benjamin Friedlander, Jill Hughes, and Katherine A. DuBois, “Preface”

Symposium

“In what sense does the work to which you are committed share in the renovation of society?”

Rachel Tzvia Back, “Poetry in the 21st Century and Radical Faith”

Sarah Barnsley

Allison Cobb

Commune Editions

Maria Damon, “Potential Gristlies”

Rachel Blau DuPlessis, “Social Renovation and Cultural Work, an Essay for Paideuma

Norman Finkelstein, “Affective Dissonance: Reflections on My Work in a Time of Crisis”

Alan Golding, “Reading, the Academy, and the ‘Soft’ Avant-Garde: Tan Lin’s Heath and Heath Course Pak

Michael Heller, “‘In What Sense…'”

David Herd, “Response to Paideuma

Laura Hinton, “Political Poetics and Love”

Linda A. Kinnahan

Ann Lauterbach, “Counting the Ways”

Philip Metres, “The Poem’s Future”

Malgorzata Myk, “(Mis)Crossing Threads”

A. L. Nielsen, “State/meant 2017”

Jean-Michel Rabaté

Dale Smith, “A Note on Companionship, Division, and Poetry”

Askia M. Touré

David Trinidad, “One Reader”

Keith Tuma

Ann Vickery

Fred Wah, “For Paideuma

Jerome McGann, “Indian Treaties and American Exceptionalism: Prolegomena to a Study of American Ideology”

Other Essays

John Beall, “Pound, Hemingway, and the Inquest Series”

Julie Goodspeed-Chadwick, “Identity Politics, Modernist Aesthetics, and Modernist Abstraction in H.D.’s Helen in Egypt

Margaret Konkol, “‘That Irate Pornographist’: Gender and Nature in Mina Loy’s ‘Songs to Joannes'”

Mark Byers, “Moving Metres: Hilda Morley and Gestural Abstraction”

Notes on Contributors

Cover: Mercedes Matter, Landscape verso Abstraction (ca. 1928). Oil on board, 15 x 18.25 inches. Courtesy Mark Borghi Fine Art, New York.

 

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2007-2009

(publication date 2010)

CONTENTS

Preface

Essays

Robert Stark, “‘Toils Obscure An’ A’ That’: Romantic and Celtic Influences in ‘Hilda’s Book’”

Sean Pryor, “Particularly Dangerous Feats: The Difficult Reader of the Difficult Late Cantos”

Sarah Barnsley, “‘Sand Is the Beginning and the End / of Our Dominion’: Mary Barnard, H.D. and Imagism”

Aimee Pozorski, “Traumatic Survival and the Loss of a Child: Reznikoff’s Holocaust Revisited”

Patrick Barron, “Unmasked Representations of Space in Edward Dorn’s ‘The Land Below’ and ‘Idaho Out’”

Andrea Brady, “Making Use of This Pain: The John Wieners Archives”

Kaplan Harris, “Gender Performance, Performance Enhancement, and Poetry: Reading Ted Berrigan After Viagra”

Tony Brinkley and Joesph Arsenault, “‘This is where the serpent lives’: Wordsworthian Poetics and Contemporary American Poetry”

Reviews

Ronald Bush (Ezra Pound: Canti postumi, a cura di Massimo Bacigalupo)

Robert Kibler (Ernest Fenollosa and Ezra Pound’s The Chinese Written Character as a Medium for Poetry, A Critical Edition, ed. Haun Saussy, Jonathan Stalling, and Lucas Klein)

Mariacrstina Natalia Bertoli (Ezra Pound, Language and Persona, ed. Massimo Bacigalupo and William Pratt)

Joseph Conte (Anne Day Dewey, Beyond Maximus: The Construction of Public Voice in Black Mountain Poetry)

Justin Parks (Peter Nicholls, George Oppen and the Fate of Modernism)

Lara Vetter (Mark S. Morrisson, Modern Alchemy: Occultism and the Emergence of Atomic Theory)

In Memoriam

Paul Montgomery, 1936-2008 by Massimo Bacigalupo

Giano Accame, 1928-2009 by Massimo Bacigalupo

G. Singh, 1926-2009 by Massimo Bacigaluopo

Omar Pound, 1926-2010 by Tim Redman

Cover: William Aikman, Allan Ramsay. Courtesy Scottish National Portrait Gallery. The website of the National Galleries of Scotland includes the following caption beside this portrait:

Allan Ramsay began his career in Edinburgh as a wigmaker; he went on to become a bookseller, successful poet and an important member of Edinburgh’s literary and artistic circles. He was a close friend of the artist, William Aikman, and this portrait was owned by another friend, Sir John Clerk of Penicuik. Clerk wrote on the back of the canvas, imitating Ramsay’s verse: “Here painted on this canvas clout by Aikman’s hand is Ramsay’s snout.”

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