This unique essay collection considers the impact of New York on the life and works of Wallace Stevens. Stevens lived in New York from 1900 to 1916, working briefly as a journalist, going to law school, laboriously starting up a career as a lawyer, getting engaged and married, gradually mixing with local avant-garde circles, and eventually emerging as one of the most exciting and surprising voices in modern poetry. Although he then left the city for a job in Hartford, Stevens never saw himself as a Hartford poet and kept gravitating toward New York for nearly all things that mattered to him privately and poetically: visits to galleries and museums, theatrical and musical performances, intellectual and artistic gatherings, shopping sprees and gastronomical indulgences. Recent criticism of the poet has sought to understand how Stevens interacted with the literary, artistic, and cultural forces of his time to forge his inimitable aesthetic, with its peculiar mix of post-romantic responses to nature and a metropolitan cosmopolitanism. This volume deepens our understanding of the multiple ways in which New York and its various aesthetic attractions figured in Stevens’ life, both at a biographical and poetic level.
"This collection of essays examines the different lines that may be drawn between the work of Wallace Stevens and a wide range of poetry from the second half of the twentieth century up to the present moment"--
This volume captures a cross-section of the most striking recent developments in Stevens criticism.
A study of relations between American radicalism and modernism in the 1930s, focusing on Wallace Stevens.
The book brings Valery's and Stevens' poetics and poetry into conversation, and focuses on the resonance of Valery's musical ideas in Stevens' poetic theory and practice.
The book studies the impact of Stevensian and Valeryan poetics, and symbolist poetics more broadly, on a range of Anglo-American poets in untypical fashion.
Biographer and poet Paul Mariani’s The Whole Harmonium “is an excellent, superb, thrilling story of a mind….unpacking poems in language that is nearly as eloquent as the poet’s, and as clear as faithfulness allows” (The New ...
Altieri focuses his attention on the poetry of Wallace Stevens, arguing that critics have failed to appreciate the degree to which modernist poetry, like modernist art, breaks from the epistemology that arose from cultures of empiricism.
As in religious ritual, Stevens aspires to become “master” of “repetition” (CPP 350), but for the secular poet the broader ritual, the “celestial pantomime” of cosmic rhythm, is its own end (CPP 221). The value discovered in the ...
Only then, it becomes clear that this poem is typically modern and that at the same time Stevens’ own way of poetic composition cannot be compared to any other poet of Modernism. This is the aim of this essay.
The Poetic Music of Wallace Stevens will appeal to experts in the poet’s work, students of Modernism in the arts, and a wider audience fascinated by the dynamics of exchange between music and poetry.