How the discovery of the Rosetta Stone led to new ways of thinking about language: “A brilliant new interpretation of major 19th-century American writers.” —J. Hillis Miller The discovery of the Rosetta Stone and the subsequent decipherment of Egyptian hieroglyphics captured the imaginations of nineteenth-century American writers and provided a focal point for their speculations on the relationships between sign, symbol, language, and meaning. Through fresh readings of classic works by Emerson, Thoreau, Whitman, Poe, Hawthorne, and Melville, John T. Irwin’s American Hieroglyphics examines the symbolic mode associated with the pictographs. Irwin demonstrates how American Symbolist literature of the period was motivated by what he calls “hieroglyphic doubling,” the use of pictographic expression as a medium of both expression and interpretation. Along the way, he touches upon a wide range of topics that fascinated people of the day, including the journey to the source of the Nile and ideas about the origin of language.
Irwin mirrors the aesthetic impact of the genre by creating in his study the dynamics of a detective story--the uncovering of mysteries, the accumulation of evidence, the tracing of clues, and the final solution that ties it all together.
A personal interpretation of one of America’s most important writers. “Fitzgerald’s work has always deeply moved me,” writes John T. Irwin. “And this is as true now as it was fifty years ago when I first picked up The Great Gatsby. I can still remember the occasions when I first read each of his novels; remember the time, place, and mood of those early readings, as well as the way each work seemed to speak to something going on in my life at that moment. Because the things that interested Fitzgerald were the things that interested me and because there seemed to be so many similarities in our backgrounds, his work always possessed for me a special, personal authority; it became a form of wisdom, a way of knowing the world, its types, its classes, its individuals.” In his personal tribute to Fitzgerald's novels and short stories, Irwin offers an intricate vision of one of the most important writers in the American canon. The third in Irwin's trilogy of works on American writers, F. Scott Fitzgerald’s Fiction resonates back through all of his previous writings, both scholarly and poetic, returning to Fitzgerald's ongoing theme of the twentieth-century American protagonist's conflict between his work and his personal life. This conflict is played out against the typically American imaginative activity of self-creation, an activity that involves a degree of theatrical ability on the protagonist's part as he must first enact the role imagined for himself, which is to say, the self he means to invent. The work is suffused with elements of both Fitzgerald's and Irwin's biographies, and Irwin's immense erudition is on display throughout. Irwin seamlessly ties together details from Fitzgerald's life with elements from his entire body of work and considers central themes connected to wealth, class, work, love, jazz, acceptance, family, disillusionment, and life as theatrical performance.
A study in how a poet’s corpus is remembered after he vanishes. Weldon Kees is one of those fascinating people of whom you’ve likely never heard. Most intriguingly, he disappeared without a trace on July 18, 1955. Police found his 1954 Plymouth Savoy abandoned on the north side of the Golden Gate Bridge one day later. The keys were still in the ignition. Though Kees had alluded days prior to picking up and moving to Mexico, none of his poetry, art, or criticism has since surfaced either north or south of the Rio Grande. Kees’s vanishing has led critics to compare him to another American modernist poet who met a similar end two decades prior—Hart Crane. In comparison to Crane, Kees is certainly now a more obscure figure. John T. Irwin, however, is not content to allow Kees to fall out of the twentieth-century literary canon. In The Poetry of Weldon Kees, Irwin ties together elements of biography and literary criticism, spurring renewed interest in Kees as both an individual and as a poet. Irwin acts the part of literary detective, following clues left behind by the poet to make sense of Kees’s fascination with death, disappearance, and the lasting interpretation of an artist’s work. Arguing that Kees’s apparent suicide was a carefully plotted final aesthetic act, Irwin uses the poet’s disappearance as a lens through which to detect and interpret the structures, motifs, and images throughout his poems—as the author intended. The first rigorous literary engagement with Weldon Kees’s poetry, this book is an astonishing reassessment of one of the twentieth century’s most gifted writers.
When it was first published, Doubling and Incest/Repetition and Revenge proved to be a seminal work in the psychoanalytic study of Faulkner's fiction, especially of The Sound and the Fury and Absalom, Absalom! This softcover reissue of John Irwin's masterful exposition unwinds the mystery of unconscious desire and doubling that inform the novels.
Honorable Mention, Literature, 2012 PROSE Awards, Professional and Scholarly Publishing Division of the Association of American Publishers2012 Outstanding Academic Title, Choice Magazine In one of his letters Hart Crane wrote, “Appollinaire lived in Paris, I live in Cleveland, Ohio,” comparing—misspelling and all—the great French poet’s cosmopolitan roots to his own more modest ones in the midwestern United States. Rebelling against the notion that his work should relate to some European school of thought, Crane defiantly asserted his freedom to be himself, a true American writer. John T. Irwin, long a passionate and brilliant critic of Crane, gives readers the first major interpretation of the poet’s work in decades. Irwin aims to show that Hart Crane’s epic The Bridge is the best twentieth-century long poem in English. Irwin convincingly argues that, compared to other long poems of the century, The Bridge is the richest and most wide-ranging in its mythic and historical resonances, the most inventive in its combination of literary and visual structures, the most subtle and compelling in its psychological underpinnings. Irwin brings a wealth of new and varied scholarship to bear on his critical reading of the work—from art history to biography to classical literature to philosophy—revealing The Bridge to be the near-perfect synthesis of American myth and history that Crane intended. Irwin contends that the most successful entryway to Crane’s notoriously difficult shorter poems is through a close reading of The Bridge. Having admirably accomplished this, Irwin analyzes Crane’s poems in White Buildings and his last poem, "The Broken Tower," through the larger context of his epic, showing how Crane, in the best of these, worked out the structures and images that were fully developed in The Bridge. Thoughtful, deliberate, and extraordinarily learned, this is the most complete and careful reading of Crane’s poetry available. Hart Crane may have lived in Cleveland, Ohio, but, as Irwin masterfully shows, his poems stand among the greatest written in the English language.
Irwin mirrors the aesthetic impact of the genre by creating in his study the dynamics of a detective story--the uncovering of mysteries, the accumulation of evidence, the tracing of clues, and the final solution that ties it all together.
A personal interpretation of one of America’s most important writers. “Fitzgerald’s work has always deeply moved me,” writes John T. Irwin. “And this is as true now as it was fifty years ago when I first picked up The Great Gatsby. I can still remember the occasions when I first read each of his novels; remember the time, place, and mood of those early readings, as well as the way each work seemed to speak to something going on in my life at that moment. Because the things that interested Fitzgerald were the things that interested me and because there seemed to be so many similarities in our backgrounds, his work always possessed for me a special, personal authority; it became a form of wisdom, a way of knowing the world, its types, its classes, its individuals.” In his personal tribute to Fitzgerald's novels and short stories, Irwin offers an intricate vision of one of the most important writers in the American canon. The third in Irwin's trilogy of works on American writers, F. Scott Fitzgerald’s Fiction resonates back through all of his previous writings, both scholarly and poetic, returning to Fitzgerald's ongoing theme of the twentieth-century American protagonist's conflict between his work and his personal life. This conflict is played out against the typically American imaginative activity of self-creation, an activity that involves a degree of theatrical ability on the protagonist's part as he must first enact the role imagined for himself, which is to say, the self he means to invent. The work is suffused with elements of both Fitzgerald's and Irwin's biographies, and Irwin's immense erudition is on display throughout. Irwin seamlessly ties together details from Fitzgerald's life with elements from his entire body of work and considers central themes connected to wealth, class, work, love, jazz, acceptance, family, disillusionment, and life as theatrical performance.
People who vanish -- An almost invisible note -- The excellence of Weldon Kees -- "The dynamics of inferential mention": Hart Crane's influence on Kees -- Kees, a learned poet -- "Relating to robinson": mystery and literary interpretation
How the discovery of the Rosetta Stone led to new ways of thinking about language: “A brilliant new interpretation of major 19th-century American writers.” —J. Hillis Miller The discovery of the Rosetta Stone and the subsequent decipherment of Egyptian hieroglyphics captured the imaginations of nineteenth-century American writers and provided a focal point for their speculations on the relationships between sign, symbol, language, and meaning. Through fresh readings of classic works by Emerson, Thoreau, Whitman, Poe, Hawthorne, and Melville, John T. Irwin’s American Hieroglyphics examines the symbolic mode associated with the pictographs. Irwin demonstrates how American Symbolist literature of the period was motivated by what he calls “hieroglyphic doubling,” the use of pictographic expression as a medium of both expression and interpretation. Along the way, he touches upon a wide range of topics that fascinated people of the day, including the journey to the source of the Nile and ideas about the origin of language.
When it was first published, Doubling and Incest/Repetition and Revenge proved to be a seminal work in the psychoanalytic study of Faulkner's fiction, especially of The Sound and the Fury and Absalom, Absalom! This softcover reissue of John Irwin's masterful exposition unwinds the mystery of unconscious desire and doubling that inform the novels.
The context for this interdisciplinary work by a philosopher and a clinician is the psychiatric care provided to those with severe mental disorders. Such a setting makes distinctive moral demands on the very character of the practitioner, it is shown, calling for special virtues and greater virtue than many other practice settings. In a practice so attentive to the patient's self identity, the authors promote a heightened awareness of cultural and particularly gender issues. By elucidating the nature of the moral psychology and character of the good psychiatrist, this work provides a sustained application of virtue theory to clinical practice. With its roots in Aristotelian writing, The Virtuous Psychiatrist presents virtue traits as habits, able to be cultivated and enhanced through training. The book describes these traits, and how they can be habituated in clinical training. A turn towards virtue theory within philosophy during the last several decades has resulted in important research on professional ethics. By approaching the ethics of psychiatric professionals in these virtue terms, Radden and Sadler's work provides an original application of this theorizing to practice. Of interest to both theorists and practitioners, the book explores the tension between the model of enduring character implicit in virtue theory and the segmented personae of role-specific moral responses. Clinical examples are provided, based upon dramaturgical vignettes (caseplays) which illustrate both the interactions of the case participants as well as the inner monologue of the clinician protagonist.
Isn't Justice Always Unfair? explores the uncommonly long and uncommonly rich relationship between the fictional detective and his or her South. It begins with the New Orleans expatriate, Legrand, uncovering Captain Kidd's treasure on an island off Charleston, South Carolina; it covers the satires and parodies of Mark Twain and the polished stories of Melville Davisson Post and Irvin S. Cobb; and it concludes with surveys of the many good and excellent writers who are using the form of the detective story to compose inquiries into the character of life in the South today. At the center of Isn't Justice Always Unfair? lies an analysis of a most remarkable phenomenon: William Faulkner's exploitation of the genre as an avenue into his postage stamp of Southern experience, Yoknapatawpha County.
In one of his letters Hart Crane wrote, "Appollinaire lived in Paris, I live in Cleveland, Ohio," comparing—misspelling and all—the great French poet’s cosmopolitan roots to his own more modest ones in the midwestern United States. Rebelling against the notion that his work should relate to some European school of thought, Crane defiantly asserted his freedom to be himself, a true American writer. John T. Irwin, long a passionate and brilliant critic of Crane, gives readers the first major interpretation of the poet’s work in decades. Irwin aims to show that Hart Crane’s epic The Bridge is the best twentieth-century long poem in English. Irwin convincingly argues that, compared to other long poems of the century, The Bridge is the richest and most wide-ranging in its mythic and historical resonances, the most inventive in its combination of literary and visual structures, the most subtle and compelling in its psychological underpinnings. Irwin brings a wealth of new and varied scholarship to bear on his critical reading of the work—from art history to biography to classical literature to philosophy—revealing The Bridge to be the near-perfect synthesis of American myth and history that Crane intended. Irwin contends that the most successful entryway to Crane’s notoriously difficult shorter poems is through a close reading of The Bridge. Having admirably accomplished this, Irwin analyzes Crane’s poems in White Buildings and his last poem, "The Broken Tower," through the larger context of his epic, showing how Crane, in the best of these, worked out the structures and images that were fully developed in The Bridge. Thoughtful, deliberate, and extraordinarily learned, this is the most complete and careful reading of Crane’s poetry available. Hart Crane may have lived in Cleveland, Ohio, but, as Irwin masterfully shows, his poems stand among the greatest written in the English language.
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