A gathering of all of Zukofsky's poems outside of "A" -- poems that are "absolute clarification, crystal cabinets full of air and angels" (Kenneth Rexroth).
Written between 1947 and 1960 and first published in 1963, the prose work in the first of these two volumes reflects Louis Zukofsky's ongoing obsession with Shakespeare—whose plays he had first seen performed in Yiddish—and is central to understanding Zukofsky's work. Tracing the themes of knowledge, love and physical vision (“the eyes have it”) through both Shakespeare’s plays and the poetry, Bottom: On Shakespeare is more than a compendious act of homage by one poet to another. In effect, it lays out Zukofsky's poetics and theory of knowledge on a grand scale, tracing his themes through the whole of Western culture, from the Classical Greeks through William Carlos Williams. The second volume of Bottom: On Shakespeare consists of Celia Thaew Zukofsky's spare operatic setting of Shakespeare's Pericles, Prince of Tyre, a play in which Zukofsky saw Shakespeare rewriting the classic plots and tropes of the Odyssey. The Wesleyan edition features a new foreword by Bob Perelman.
A gathering of all of Zukofsky's poems outside of "A" -- poems that are "absolute clarification, crystal cabinets full of air and angels" (Kenneth Rexroth).
Best known as one of the most significant poets of the 20th century, Louis Zukofsky was also an accomplished writer of fiction, all of which is collected here for the first time. Included is his only novel, "Little" (1970), which John Leonard in the "New York Times" called "an odd, playful, thoroughly charming novel about a child prodigy." (The novel is very autobiographical and Zukofsky's son, violin virtuoso, Paul Zukofsky, has written an afterword for this edition.) Also included are the four stories comprising "It Was," published in 1961 in a limited edition and virtually unobtainable for years. The stories range from the brief title story in which a writer struggles with the composition of the perfect sentence to the novella length "Ferdinand," which Guy Davenport praised in the "New York Times Book Review" as "a finely tuned story from a sensibility of extraordinary range and skill.
Poetry. "At the heartbreaking intersection of the subjective and the structural, THE MOOD EMBOSSER is hilarious, angry, and accurate, replacing hopeful homologies with a poetics of articulation"-Jeff Derksen. "In the MOOD EMBOOSER, we are hurtled.into a space where language confronts Capital with its own violent slapstick.This exciting.book attacks globalization's self-validating rhetorics with a brilliant textual dysfunctionality, giving timely revivification to the politics of form"-Sianne Ngai.
Martz (English, emeritus, Yale) argues that the prophetic tradition, with its focus on the evils of the present, as well as the possibilities of redemption should be understood as an integral component of both the texture and contents of works by such modernist poets as Ezra Pound, William Carlos Williams, T. S. Eliot and others. Biblical prophecy, he asserts, is an important precedent for the tone and subject matter of these poets' works. Annotation copyrighted by Book News, Inc., Portland, OR
In Germany near the end of World War II, 1,400 members of the Vichy France government hide in a labyrinthine castle and attempt to postpone the postwar reckoning.
An engrossing and impossibly wide-ranging project . . . In The Free World, every seat is a good one." —Carlos Lozada, The Washington Post "The Free World sparkles. Fully original, beautifully written . . . One hopes Menand has a sequel in mind. The bar is set very high." —David Oshinsky, The New York Times Book Review | Editors' Choice One of The New York Times's 100 best books of 2021 | One of The Washington Post's 50 best nonfiction books of 2021 | A Mother Jones best book of 2021 In his follow-up to the Pulitzer Prize–winning The Metaphysical Club, Louis Menand offers a new intellectual and cultural history of the postwar years The Cold War was not just a contest of power. It was also about ideas, in the broadest sense—economic and political, artistic and personal. In The Free World, the acclaimed Pulitzer Prize–winning scholar and critic Louis Menand tells the story of American culture in the pivotal years from the end of World War II to Vietnam and shows how changing economic, technological, and social forces put their mark on creations of the mind. How did elitism and an anti-totalitarian skepticism of passion and ideology give way to a new sensibility defined by freewheeling experimentation and loving the Beatles? How was the ideal of “freedom” applied to causes that ranged from anti-communism and civil rights to radical acts of self-creation via art and even crime? With the wit and insight familiar to readers of The Metaphysical Club and his New Yorker essays, Menand takes us inside Hannah Arendt’s Manhattan, the Paris of Jean-Paul Sartre and Simone de Beauvoir, Merce Cunningham and John Cage’s residencies at North Carolina’s Black Mountain College, and the Memphis studio where Sam Phillips and Elvis Presley created a new music for the American teenager. He examines the post war vogue for French existentialism, structuralism and post-structuralism, the rise of abstract expressionism and pop art, Allen Ginsberg’s friendship with Lionel Trilling, James Baldwin’s transformation into a Civil Right spokesman, Susan Sontag’s challenges to the New York Intellectuals, the defeat of obscenity laws, and the rise of the New Hollywood. Stressing the rich flow of ideas across the Atlantic, he also shows how Europeans played a vital role in promoting and influencing American art and entertainment. By the end of the Vietnam era, the American government had lost the moral prestige it enjoyed at the end of the Second World War, but America’s once-despised culture had become respected and adored. With unprecedented verve and range, this book explains how that happened.
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