First published in 1919 by Ezra Pound, Ernest Fenollosa’s essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound’s understanding—it is fair to say, his appropriation—of the text. Fenollosa’s manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound’s editing of the essay obscured two important features, here restored to view: Fenollosa’s encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa’s important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound’s deletions, insertions, and alterations to Fenollosa’s sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa’s ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.
The French priest offers his predictions for the country, which are largely concerned with religious groups; he also examines various social institutions, such as schools, and expresses concern regarding employment issues. He is also extremely interested in immigration and the ethnic groups coming to the U.S.
An encyclopedia of the history of the American colonies and Canada, including Native Americans, Spanish missions, English and Dutch exploration, the slave trade, and the French and Indian War.
Ernest Hemingway, (1899 – 1961) was an American novelist and short-story writer, awarded the Nobel Prize for Literature in 1954. He was noted both for the intense masculinity of his writings and for his adventurous and widely publicized life. A consummately contradictory man, Hemingway achieved a fame surpassed by few, if any, American authors of the 20th century. The virile nature of his writing, which attempted to re-create the exact physical sensations he experienced in wartime, big-game hunting, and bullfighting, in fact masked an aesthetic sensibility of great delicacy. In Our Time consists of sixteen early Hemingway short stories, including the famous Nick Adams stories "Indian Camp" and "The Three-Day Blow," and introduces readers to the hallmarks of the Hemingway style: a lean, tough prose, enlivened by an ear for the colloquial and an eye for the realistic.
In Our Time is the title of Ernest Hemingway's first collection of short stories, published in 1925 by Boni & Liveright, New York, and of a collection of vignettes published in 1924 in France titled in our time. Its title is derived from the English Book of Common Prayer, "Give peace in our time, O Lord". The stories's themes – of alienation, loss, grief, separation – continue the work Hemingway began with the vignettes, which include descriptions of acts of war, bullfighting and current events. The collection is known for its spare language and oblique depiction of emotion, through a style known as Hemingway's "theory of omission" (iceberg theory). According to his biographer Michael Reynolds, among Hemingway's canon, "none is more confusing ... for its several parts – biographical, literary, editorial, and bibliographical – contain so many contradictions that any analysis will be flawed.
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