Wednesday, June 22, 2011

I Have Seen the Swan & I Have Seen You Press

I have been reading for my comp exams. Books I have read in the last 21 days:

Sea Garden (1916), H.D.
The God (1917), H.D.
Notes on Thought and Vision (1919), H.D.
Hymen (1921), H.D.
TS Eliot Selected Essays: 1917-1932, T.S. Eliot
The Lost Lunar Baedeker, Mina Loy (Selected and ed. Roger Conover)
Early Writings, Ezra Pound (ed. Ira Nadel)
Personae, Ezra Pound
Literary Essays of Ezra Pound, Ezra Pound
Complete Poems, Marianne Moore
Selected Letters of Marianne Moore, Marianne Moore
The Art of Twentieth-Century American Poetry: Modernism and After, Charles Altieri
British poetry in the age of modernism, by Peter Howarth (not good)
The Cambridge Introduction to Modernism, Pericles Lewis
H.D. And The Image, Rachel Connor
Modernist articulations : a cultural study of Djuna Barnes, Mina Loy and Gertrude Stein, Alex Goody
The critical response to Marianne Moore, edited by Elizabeth Gregory
Cultures of modernism : Marianne Moore, Mina Loy, and Else Lasker-Schüler : gender and literary community in New York and Berlin, Cristanne Miller.
Marianne Moore: Questions of Authority, Cristanne Miller
Marianne Moore : the art of a modernist, edited by Joseph Parisi
Marianne Moore : the poetry of engagement, Grace Schulman (not good)
H.D. and the public sphere of modernist women writers 1913-1946 : talking women, Georgina Taylor

Now on to Gertrude Stein!!!!

Friday, June 10, 2011

Giant Pancake Press





So.......this is what I spend my day doing: reading & taking notes. Like this:

Pound, Ezra. Early Writings: Poems and Prose. New York, New York: Penguin Classics, 2005.


essay How I Began:
“The artist is always beginning. Any work of art which is not a beginning, an invention, a discovery, is of little worth.”-211

essay The Serious Artist:
“It is obvious that ethics are based on the nature of man, just as it is obvious that civics are based upon the nature of men hwn living together in groups.
It is obvious that the good of the greatest number cannot be attained until we know in some sort of what that good must consist. In other words, we must know what sort of animal man is, before we can contrive his maximum happiness, or before we can decide what percentage of that happiness he can have without causing too great a percentage of unhappiness to those about him…
The arts give us a great percentage of the lasting and unassailable data regarding the nature of man, of immaterial man,of man considered as a thinking and sentient creature. They begin where the science of medicine leaves off or rather they overlap that science….
From medicine we learnt hat man thrives best when duly washed, aired, and sunned. From the arts we learn that man is whimsical, that one man differs from another. That men differ among themselves as leaves upon trees differ. That they do not resemble each other as do buttons cut by machine….
This brings us to the immorality of bad art. Bad art is inaccurate. It is art that makes false reports….If an artist falsifies his report as to the nature of man, as to his own nature, as to the nature of his ideal of the perfect, as to the nature of his ideal of this, that or the other, of god, if god exists, or the life force, of the nature of good and evil, if good and evil exist….; if the artist falsifies his reports on these matters or on any other matter in order that he may conform to the taste of his time, to the proprieties of a sovereign, to the conventions of a preconceived code of ethics, then the artist lies….”-
“One does not need to read black print to learn this ethical fact about physicians. Yet it takes a deal of talking to convince a layman that bad art is ‘immoral.’ And that good art however ‘immoral’ it is, is wholly a thing of virtue. Purely and simply that good are can NOT be immoral.”—236

“The cult of beauty and the delineation of ugliness are not in mutual opposition.”-238

“He is constantly urging someone else to behave as he, the theorist, would like to behave. Now art ever asks anybody to do anything, or to think anything, or to be anything. It exists as the trees exist, you can admire, you can sit in the shade, you can pick bananas, you can cut firewood, you can do as you jolly well please.”-239

“The arts give us our data of psychology, of man as to his interiors, as to the ratio of his thought to emotions…The touchstone of an art is its precision.”-241

“…I mean something like ‘maximum efficiency of expression’; I mean that the writer has expressed something interesting in such a way that one cannot re-say it more effectively. I also mean something associated with discovery. The artist must have discovered something—either of life itself or of the means of expression.”-250

essay A Retrospect:
“An ‘Image’ is that which presents an intellectual and emotional complex in an instant of time….it has the presentation of such a ‘complex’ instantaneously which gives that sense of sudden liberation; that sense of freedom from time limits and space limits; that sense of sudden growth, which we experience in the presence of the greatest works of art.”-253

“When Shakespeare talks of the ‘Dawn in russet mantle clad’ he presents something which the painter does not present. There is in this line of his nothing that one can call description, he presents.”-256

“I think one should write vers libre only when one ‘must,’ that is to say, only when the ‘thing’ builds up a rhythm more beautiful than that of set metres, or more real, more a part of the emotion of the ‘thing,’ more germane, intimate, interpretative than the measure of regular accentual verse…”263

essay The Tradition:
“The tradition is a beauty which we preserve and not a set of fetters to bind us.”-266

essay Vorticism:
“In the ‘search for oneself,’ in the search for ‘sincere self-expression,’ one gropes, one finds some seeming verity. One says, ‘I am’ this, that, or the other, and with the words scarcely uttered one ceases to be that thing.
I began this search for the real in a book called Personae, casting off, as it were, complete masks of the self in each poem.I continued in long series of translations, which were but more elaborate masks.
Secondly, I made pomes like ‘The Return,’ which is an objective reality and has a complicated sort of significance…Thirdly, I have written ‘Heather,’ which represents a state of consciousness, or ‘implies,’ or ‘implicates’ it…
These two latter sorts of poems are impersonal, and that fact brings us back to what I said about absolute metaphor….”282

“All poetic language is the language of exploration.”-285

“The ‘one image poem’ is a form of super-position, that is to say, it is one idea set on top of another. I found it useful in getting out of the impasse in which I had been left by my metro emotion: I wrote a thirty-line poem, and destroyed it because it was what we call work ‘of secondary intensity.” Six months later I made a poem half that length; a year later I made the following hokku-like sentence:
The apparitions of these faces in the crowd:
Petals, on a wet, black bough.
I dare say it is meaningless unless one has drifted into a certain vein of thought. In a poem of this sort one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.
This particular sort of consciousness has not been identified with impressionist art. I think it is worthy of attention.”-287

“We do not desire to evade comparison with the past. We prefer that the comparison be made by some intelligent person whose idea of ‘the tradition’ is not limited by the conventional taste of four or five centuries and one continent.”
“Vorticism is an intensive art. I mean by this, that one concerned with the relative intensity, or relative significance of different sorts of expression. One desires the most intense, for certain forms of expression are ‘more intense’ than others. They are more dynamic.”-287

***

An then sometimes I do the dishes! and take photos:


Wednesday, June 1, 2011

Smell Like Frank Press

Today is the last day to submit to the Boston Review poetry contest. I hope this year's winner is female. Consider:

9 men: 4 women. Maybe 2011 will help balance it out.

Winners from past years:
Anthony Caleshu (2010)
John Gallaher (2009)
Sarah Arvio (2008)
Elizabeth Willis (2007)
Marc Gaba (2006)
Mike Perrow (2005)
Michael Tod Edgerton [PDF] (2004)
Susan Wheeler (2003)
Max Winter (2002)
D.A. Powell (2001)
Christopher Edgar (2000)
Stephanie Strickland (1999)
Daniel Bosch (1998)