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Through close readings of William Langland, John Keats, Anne Carson, and Ben Lerner, this essay describes an enigmatic effect in and of English literature. Proposing Christian apophaticism as both source and analogue of literary styles, the essay introduces the concept of "apophatic effects," references to a literary realm not merely virtual but definitively inaccessible to perception. The imaginative leap that modern scholars value in English literature, epitomized by Keats's speaker's reflections on the urn, is a form of theological thinking that has forgotten where it came from. The essay touches on the relationship between literature and theology, the formation of the discipline of English, the definition of lyric, and Keats's influence on contemporary North American avant-garde poetry. [ABSTRACT FROM AUTHOR]

Zachary McLeod Hutchins' book, "Before Equiano: A Prehistory of the North American Slave Narrative," explores the early Black African life in colonial North America through an analysis of newspapers and archival materials from the early eighteenth century. Hutchins argues that the popular understanding of slavery underwent a transformation between the eighteenth and nineteenth centuries, and that the genre of the slave narrative has been defined based on this later understanding. The book expands the archive of early Black life writing and provides important context for the nineteenth-century slave narrative and the broader tradition of Black life writing. [Extracted from the article]

This article examines an ever-proliferating, little-discussed phenomenon: notes in contemporary African American poetry. Attending to the form and content of these threshold spaces elucidates how Black poets operate within but refuse incorporation into historically white institutions. Reading three examples— Wade in the Water by Tracy K. Smith, To Repel Ghosts by Kevin Young, and Dangerous Goods by Sean Hill—it argues that these successful poets do not view notes as of an "incidental nature" but manipulate them, operating in but not of the discourses they mimic. Poets exploit this textual space to subvert institutional limits; their annotation yields self-reflexive outcomes that demand attention as descended yet distinct from paratexts of Black precursors. [ABSTRACT FROM AUTHOR]

While I argue that the elasticity of Tuckerman's rhyme schemes and malleable Petrarchan divisions are literally and metaphysically expansive, I am using "dissolution" here to acknowledge the nineteenth-century context in which Tuckerman's subversive formal displays, which critics deemed "inept" and "defective", were seen as dismantling the sonnet form.[23] The poems form parallels between their neglected subjects and the sonnet's historical rejection of non-allegorized portrayals of decomposition. Moreover, had Tuckerman's peerless imagistic sonnets found their way into the poetic canon, their existence might have challenged the hard and fast divide we often erect between Romanticism and Modernism. iii. open endings Tuckerman is far from the only nineteenth-century American to complicate closure in his poetry; we need only look to Dickinson's trademark, resolution-forestalling dashes or to Whitman's resounding free verse vowels to acknowledge this fact.[39] Yet as a sonnet writer, Tuckerman's rejection of closure works through unprecedented means. Yet in such waste, no waste the soul descries ... For whoso waiteth, long & patiently, Will see a movement stirring at his feet - Frederick Goddard Tuckerman, Sonnet V:II[1] i. wasted aesthetics One of the most gnomic moments in Ecclesiastes occurs at its end, when the book's final poem aligns the waning of life with a series of collapsing forms. In 1959, for instance, Samuel Golden opined that the sonnet was held "low in esteem" in Tuckerman's day.[25] A few decades later, poet Andrew Hudgins claimed that Tuckerman remains consigned to relative obscurity because "the sonnet was not a popular form" in his lifetime.[26] Yet Tuckerman was hardly writing in a geographic vacuum. [Extracted from the article]

14 Edward Clarke, I The Later Affluence of W. B. Yeats and Wallace Stevens i (Basingstoke: Macmillan, 2012), 78. 15 Stevens to Bernard Heringman, 3 May 1949, in I Letters of Wallace Stevens i , ed. Focusing predominantly on the pertinence of pre-Socratic philosophy in Stevens's texts, Tompsett overlooks how Stevens's poetic technique influences or is influenced by these strands of thought, leading to reductive judgments such as "ethics are not a part of Stevens's aesthetic" (176). For the 131 most part, he overlooks how these philosophical elements inform, and are shaped by, Stevens's poetic practice.[9] Concentrating on another of Stevens's meditative texts, Dan Disney uses the attitude to poetic form suggested in "An Ordinary Evening in New Haven" as an exegesis of Plato, positing that poets create "a different style of attaching thinking and language."[10] But this insistence on getting back to Plato through Stevens coupled with a focus on matters of epistemology misinterprets how Stevens distances himself from conceiving of the poet's knowledge as transcendent; in other words, Stevens is not simply substituting one set of final principles for another. Wallace Stevens confronts Plato's rebuff of poetry head-on. [Extracted from the article]

More than any of his avant-garde contemporaries, it is one of the dedicatees of I 1450-1950 i , Sterne, "the English Rabelais", and his novel I The Life and Times of Tristram Shandy, Gentleman i - "a veritable typographical museum", according to Christopher Fanning - which speaks most meaningfully to Brown's typographical concerns in I 1450-1950 i .[35] Sterne was closely involved in the design and printing of his novel - which was published in nine small volumes between 1759 and 1765 - and decided its format, paper, type, and layout. Drawing a Blank Reflecting on the wider significance of I 1450-1950 i and its problematic assessment of "the Gutenberg Galaxy" it is worth "LOOKING BACK" again at Sterne's I Tristram Shandy i "AND FORWARD TO" the concrete poetry that Brown subsequently became associated with.[56] Between these poles it is possible to see not only the full implications of Brown's problematic conceptions of race and gender, but also how these prejudices might be remediated as instructive measures for assessing the "medial history" of literature, as Pressman calls it, and the occlusions that compromise conventional reading habits. In 1929, the Paris-based Black Sun Press (formerly known as Editions Narcisse) run by Caresse and Harry Crosby published a slim volume of hand-drawn images and handwritten texts by a fellow American named Bob (Robert Carlton) Brown. Pulling Out the Stopper Brown dedicates I 1450-1950 i to "ALL MONKS WHO ILLUMINATED MANUSCRIPTS", "EARLY ORIENTAL ARTISTS", pioneering printers such as William Caxton, and a range of writers ranging from Giovanni Boccaccio and Rabelais, Blake and Laurence Sterne, to Gertrude Stein, Joyce, and Brown himself. [Extracted from the article]

Among the contributors to Donald Allen's legendary The New American Poetry anthology, we find at least a dozen queer poets, several of whom were directly involved in the struggle for gay liberation. This article goes in search of their British counterparts, looking at work associated with the so-called British Poetry Revival. Beginning on the cusp of the Sexual Offences Act 1967, I revisit Allen Ginsberg's trip to England in 1965, and argue for the significance of work by his friend Harry Fainlight. I go on to examine in detail Lee Harwood's love poems for John Ashbery and the stifled reception they've received in criticism. The article makes use of fresh archival resources, including Harwood's papers at the British Library and collections relating to the Gay Men's Press at the Bishopsgate Institute. [ABSTRACT FROM AUTHOR]

The author relates teaching students in India for a course on American poetry and poetics during the period of unrest. He discusses their reading of Wallace Stevens's "Examination of the Hero in a Time of War," Stevens's description of the hero in the penultimate stanza of "Examination," and Stevens's lines that the class found most puzzling yet pertinent to the protocols of student movements across the world.

Canon, tradition, and origin anchor developmental accounts of Black literary history, describing the forward movement from a singular beginning in terms of birth, maturation, and inheritance. This model delimits a specialized field of study, but also obscures texts, practices, and archives that do not cohere with it. In the study of slave testimony, the canonization of Anglo-American poets like Phillis Wheatley and Jupiter Hammon has eclipsed the reception and translation of other enslaved poets across the Americas. This essay proposes a method of lateral reading to remedy this lopsided historiography. First, it tracks how conceptions of "American Negro Poetry" shifted throughout the twentieth century, from initially describing a multilingual, hemispheric network of Black writers to ultimately signifying an Anglophone, nationally bounded African American canon. Second, it considers the temporalities of lyric, which move outward rather than forward in time, to suggest how we might read enslaved poets without expecting that their works reflect the "experience" of enslavement. And third, it demonstrates how a cohort of enslaved Afro-Cuban poets together established and elaborated a "writing community" through lyric form, overlapping social networks, and shared participation in an urban periodical culture. Taken together, these insights enable us to glimpse a wider, hemispheric corpus of enslaved poetics in the Americas. [ABSTRACT FROM AUTHOR]

Korean writers living in the United States and Korea translated the poetry of the Harlem Renaissance in the 1930s, a decade in which the so-called New Negro Movement in northern American cities was declining and Japanese assimilation policies in colonial Korea were accelerating. For their work of translation, Han Hŭkku (1909–1979) used the original text of The New Negro (1925) by Alain Locke, and Han Sŏrya (1900–1976) and No Ch'unsŏng (1898–1940) drew on Japanese sources on the literature and history of the African diaspora. I argue that these Korean intellectuals explored the sense of nostalgia and the idea of class consciousness in the black literary tradition to articulate their diasporic, socialist, and utopian visions. By examining the roles of Korean and Japanese knowledge production in disseminating black culture, this essay attempts to expand the scope of American studies into a multilingual and transpacific context and thereby reconsiders a US-centric understanding of cultural circulation. [ABSTRACT FROM AUTHOR]

The article discusses various news associated with The Wallace Stevens Journal. Some of them includes contribution of honorary editor John N. Serio to the Wallace Stevens Society to help defray the cost of overhauling the online Concordance, Nikky Finney as recipient of the 2020 Wallace Stevens Award of the Academy of American Poets, and Antoinette Brim-Bell and Sophie Cabot Black as featured poets at the 2021 Rose Garden Reading held at Elizabeth Park in Hartford, Connecticut.

Two poems by Robert Hammond Dorsett are presented. "Night Sky." First Line: I step from sleep into my yard. Last Line: cosmetic, our cosmos large. "The Space Between Us." First Line: What I say to you is by leave; Last Line: for what I no longer am.

The Evangeline story, as made famous by Longfellow, is one of two star-crossed lovers who are separated at the moment of the Acadian Expulsion. The engagement of "fairest of all maids," Evangeline, and "noblest of all youths," Gabriel, becomes the central focus of Longfellow's pastoral description of pre-expulsion Grand Pré, Novia Scotia. This myth is the predominant one that is eventually perpetuated regarding the Acadian expulsion into the Southern States. [ABSTRACT FROM AUTHOR]

The article focuses on American composer Elliott Carter widely acknowledged as one of the leading musical interpreters of contemporary American poetry. It mentions poet's relationship to music and identifies musical features, references, and analogies in poems of Wallace Stevens and use of irony and employment of unusual words. It also mentions ways in which Carter employs his musical language to convey his understanding of a poem.

This essay looks to Paul Laurence Dunbar's dilemma as the nation's first African American commercial writer and representative of black dialect verse by examining his metapoetic standard English poems in Oak and Ivy (1893), Majors and Minors (1895), Lyrics of Lowly Life (1896) and Lyrics of the Hearthside (1899). At the cusp of a growing demand for black dialect and blackface performance in the 1890s, Dunbar's "pure blackness" put him in the rather unfortunate position of having to write in dialect to gain a readership and make a living as a professional writer. To mitigate this problem, I find that Dunbar developed the proto-modernist technique of metapoetic personae, which he employed in the majority of his standard English verses as implicit commentaries on the romantic ideals of his white counterparts. Dunbar's metapoems are thus significant assessments of the link between craftsmanship and commercialism in the Post-Reconstruction era, debunking the deeply problematic myths about the imaginative possibilities of black writers. [ABSTRACT FROM AUTHOR]

Abstract William Cullen Bryant's abstraction of the British Romantic poetics he has been accused of merely borrowing had lasting effects on the lyricization of transatlantic poetics and on current ideas of Romantic lyric (specifically on versions of "the" Romantic lyric taught in American English departments) and on the naturalization of lyric reading. Bryant's lyricized racism is and was inherent in the very Englishness of the forms he used to establish what it was and is to be a poet in America. By making American poetics in the image of British Romanticism, Bryant made American poetry dead and white at the very moment of its invention. Bryant's poems were often about that predicament—that is, about whiteness and the difference settler colonialism made to British Romanticism, which is to say that if Cleanth Brooks was right that (what he thought of as) "Romantic poetry... foreshadows the characteristic structure" of modern poetry, then this is only true of modern American poetry if we consider the long shadow that Bryant (and nineteenth-century American poetics more generally) cast within that structure. [ABSTRACT FROM AUTHOR]

The author explores ways to teach American poet Wallace Stevens' poetry in poetry writing classes, and proposes inventive strategies that can be consider in teaching. Topics discussed include importance of understanding and valuing Stevens' act of imagination; study of different poems of Stevens; and ways in which Stevens work as a sustaining force in the education of scientists that extends poetry's reach as a partial buffer to the progressive marginalization of the humanities.

A personal narrative is presented which explores the author's experience of teaching American poet Wallace Stevens in poetry writing classes in Portugal.

A personal narrative is presented which explores the author's experience of teaching American poet Wallace Stevens in poetry writing classes in China.

The article widen the scope of the issue to teaching American poet Wallace Stevens in poetry writing classes of non-English speaking students in Sweden, and propose inventive strategies that can be consider in teaching. Topics discussed include importance of understanding and valuing Stevens' act of imagination; study of different poems of Stevens; and metaphysical speculation of Stevens' poem.

The article widen the scope of the issue to teaching American poet Wallace Stevens in poetry writing classes, and propose inventive strategies that can be consider in teaching. Topics discussed include ways to teach Stevens' neglected poem "Like Decorations in a Nigger Cemetery;" and problems of race evident in the poem and other poems that punctuate Stevens' oeuvre; and metaphysical speculation of Stevens' poem.

A personal narrative is presented which explores the author's experience of teaching American poet Wallace Stevens in poetry writing classes in Israel.

The article widen the scope of the issue to teaching American poet Wallace Stevens in poetry writing classes, and propose inventive strategies that can be consider in teaching. Topics discussed include importance of understanding and valuing Stevens' act of imagination; study of different poems of Stevens; and Stevens' focus on how self-consciousness becomes a mode of habitation.

The article discusses dominance of poets Robert Frost and Wallace Stevens in modernist American poetry. It states the perspective of literary critic Ezra Pound on modernism, referencing his book "The Poetry of Ezra Pound," and mentions the said transformation of Frost from a genial cracker-barrel poet to an existential philosopher. It notes that the poets have achieved a contingent equilibrium for their works over the recent decades, and mentions their contributions to conflicted modernisms.

Please indicate which book you would like to review and include a summary vita and your preferred mailing address. Modern Language Association of America, 2019. Scholars interested in reviewing for I South Central Review i should contact Book Review Editor Christopher Bundrick (bundrick@sc.edu). [Extracted from the article]

The article looks at the career of American poet Vachel Lindsay during his teaching stint at the Gulf Park College for Women on the Mississippi Coast from 1923 to 1924. Topics discussed include how Lindsay sought new creative forays into the study of cinema, the revision and expansion of his "Collected Poems" and the cultivation of New Poetry through his teaching. The story of his unfulfilled love for Elizabeth Mann Wills, as well as his suicide, is also mentioned.

The article explores romanticism in American poetry, which sometimes refers to ideas that stretched from mid-18th-and-19th-century German idealism through late 18th-and-19th-century European national revolutions. It mentions that expressive poetics was derived from Orientalist William Jones's Sanskrit and Persian translations.

The article critiques the poem "You've Seen Balloons set -- Haven't You?" by Emily Dickinson. Topics covered include the disquieting framing of the poem, the interpretation of each stanza of the poem, the revelation of the poem's true subject and dramatic motive in the third stanza and Dickinson's desire and ability to access the barely endurable from the most quotidian and inoffensive of overtures.

The article critiques the poem "The Gardens of the Villa d'Este," by Anthony Hecht. Topics covered include the opinion that the poem turns away from the historical realities in post-war Europe to focus on its own artistic design and view that the poem is an attempt for Hecht to articulate his relation to the pressure of history both as an individual and as an artist.

The article offers the author's insights on the essay entitled "The End of the End of the Canon?" by Maurice Lee, about accountability and canonicity. Topics discussed include the procedures of author Robert von Hallberg in writing a history of american poetry from 1945 to 1995, the use of the terms canon or canonicity in the essay of von Hallberg, and the importance to resist the discourse of accountability.

The article reflects on the significance of poets Wallace Stevens and Walt Whitman to poetry in Great Britain. Topics include how the poets are being taught in the country, the association between 20th century American poetry and that of Whitman in general, and the position of teaching Stevens in a Whitmanian American tradition.

Edición crítica y anotada de C. George Peale y Raquel Sánchez Jiménez, Juan de la Cuesta, 2021. Edición crítica y anotada de C. George Peale y Javier J. González Martínez, Juan de la Cuesta, 2020. 6 Garcilaso de la Vega, Inca. [Extracted from the article]

A personal narrative is presented which explores the author's experience of teaching American poet Wallace Stevens in poetry writing classes.

The author share his experience about reading several American poetries. Topics discussed include his views on "Disillusionment of Ten O'Clock" poem which represents the direction, the author explores bad outcomes of American poetry with the help of "Stopping by Woods on a Snowy Evening" poem, and examine the content of poems.

This essay reads Harryette Mullen's epic poem Muse & Drudge as an innovative text of the US-Mexico borderlands by focusing on Mullen's literal and figurative transactions between multiple discourses, including Spanish, and the corresponding sets of material conditions these discourses conjure to understand how Muse & Drudge reveals the ongoing racialization and exploitation of African American women and Latinas. I identify a transaborder politics in Muse & Drudge in which shared colonial histories unite Afro-Caribbean diasporic and borderlands subjects. In Mullen's poetics, themes of separation, definition, and regulation are racialized concepts, deeply embedded in the violent histories of racial mixing and mestizaje that are both named outright and alluded to metaphorically by her hybridized language. [ABSTRACT FROM AUTHOR]

The article describes the ways in which Fidelia Hayward Cooke, editor of the periodical "Republican," used the poetry of Emily Dickinson to fulfill her aim of establishing a politically engaged women's aesthetic during the Civil War. Topics covered include Dickinson's correspondence with the editor and the effort of Cooke to transform the literary character of the periodical toward a more regional and feminine ethos. Also discussed are the editorial policies of Cooke and editor Josiah Holland.

The article discusses some thought experiments in digital humanities to answer questions about the life and work of U.S. poet Emily Dickinson. It reflects on a "Days of Digital Humanities" event hosted by Johns Hopkins University in Baltimore, Maryland, in March 2013. Topics discussed include the specificity and material detail of Dickinson's manuscript practices, the role of crowdsourcing in mediating aesthetics and the scope of digital humanities in Dickinson studies.

This essay explores the ways in which poems written by U.S. author Emily Dickinson register a complex history of religious ideas that were transported through time and across occasions. It highlights the influence of hymns on the structure of the poetry of Dickinson, particularly the hymn "The Crowning Day." Other topics discussed include the hymns featured in the novel "Two Modern Women" by Kate Gannett Wells and the sequence of lyrics of hymns.

The article discusses the anxiety in determining the era of American poets Wallace Stevens and W.H. Audens on the basis of their literary contributions during postwar poetic moment. It informs that Auden's words influences in the development of the modern American poetry. It also discusses on contributions of other poets including Randall Jarrell and Marianne Moore. It mentions Auden's contributions in periodicals including "Partisan Review", "The New Republic" and "Reader's Digest."

The article discusses the differences and similarities between American poets Wallace Stevens and W.H. Auden as mentioned in an anecdote given by the author Harold Bloom. It informs that Auden's postwar American poetry is influensive. It informs that the literary languages used by both poets were entirely different. It discusses that the communication between the poet and the reader varies in poetries by Steven and Auden's.

The author reflects on the 2011 Callaloo Conference hosted by Texas A&M University in College Station. She notes the tendency of American poetry to exhibit superficial differences that ornament a conformist aesthetic. She recalls a debate with a student after she suggested that most science fiction offers narratives and characters based on events, anxieties and themes specific to the sociopolitical milieus in which they were composed. She views the potential of translation for subversion.

The article examines the work of U.S. Southern poet Charles Wright, focusing on his use of Southern roadways to reflect transitions and socioeconomic transformations in the twentieth and twenty-first century. The article argues that Wright's impulse to remap southern roadways is an attempt to reflect on the changing Southern culture. Topics include how Wright's use of obsolete interstate highways is an attempt to explore the growing transience of Southern lifestyles as more people migrated from their homes, a discussion of the structure of Wright's poetry, and the use of the old Interstate highway system in his collection "The World of Ten Thousand Things."

An essay is presented on themes of place and landscape in American poetry. Particular focus is given to ways in which poems including "Safe in Their Alabaster Chambers" by Emily Dickinson, "Directive" by Robert Frost, and "For the Union Dead" by Robert Lowell address issues related to demolition, construction, and abandonment in the built environments of the settings of each poem.

An essay is presented on the realism and rhetoric in poet Wallace Stevens' essay "The Noble Rider and the Sound of Words." It says that the essay suggests readers should adjust their sense of the aesthetic sphere and understand Stevens' analysis of vulgarized imagism. It explains how the essay shows Stevens' concerns of aesthetics and politics. It says that the Stevens' used imagism and the poetry of William Carlos Williams as metonymies to argue concerning the role of language in history.

An essay is presented that discusses the work of the American poet Walt Whitman and his ideas on democratic poetry and how, between 1912 and 1931, modernist poets reinterpreted Whitman's ideas and rejected them. Whitman's rejection of meter, rhyme, and poetic conventions on diction comprises the core of his ideas on democratic poetics, which is not a phrase that he used. Other topics include Whitman's volume of poetry "Leaves of Grass," and critics and poets such as Harriet Monroe, Ezra Pound, and Josephine Preston Peabody.