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Posts Tagged ‘Burton Hatlen’

2014

Special Issue

A Festschrift for Burton Hatlen

Edited by Demetres P. Tryphonopoulos

CONTENTS

Preface

Introduction

Demetres P. Tryphonopoulos, “Burton Norval Hatlen (1936-2008)”

Dove Sta Memora

Essays on and in Honor of Burton Hatlen

Marjorie Perloff, “In Memoriam: Burton Hatlen (1936-2008)

Ellen Keck Stauder, “Of Rhythm, Image and Knowing: Burton Hatlen as a Reader of Pound”

Sara Dunton, “Hatlen’s H.D.”

Christopher MacGowan, “Burt Hatlen on William Carlos Williams”

Barrett Watten, “Thinking Through Orono: After Poetry of the 1970’s (2008)

Kaplan Harris, “Editing After Pound”

Trevor Sawler, “Burton Hatlen: An Annotated Bibliography”

On George Oppen

Kathleen D’Angelo, “‘The Sequence of Disclosure’: The Truth Hidden in Things in George Oppen’s Discrete Series

Duncan Dobbelmann, “‘A Ferocious Mumbling in Public’: How George Oppen Came to Be Canonized”

Burton Hatlen, “Oppen and the Unspeakable”

Joseph Noble, “George Oppen’s Discrete Series: Things Among Others”

Siobhan Scarry, “Oppen’s ‘We’ and the Poetics of the First Person Plural”

Demetres P. Tryphonopoulos, “The Prosody of George Oppen Poetry of the 1960’s—’Tho It Is Impenetrable'”

Essays

Ira Nadel, “Ezra Pound and MI5”

Zhaoming Qian, “Mai-Mai Sze, The Tao, and Moore’s Late Poetry”

Joshua Corey, “Robert Duncan’s Visionary Ecology”

Richard Owens, “Dissociations: The McCaffery-Prynne Debate”

Sag20-1a

Sag20-2a

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FALL and WINTER 1999
(publication date 2002)

William Carlos Williams and the Language of Poetry
Edited by Burton Hatlen and Demetres Tryphonopoulos

CONTENTS

Suzanne W. Churchill, “William Carlos Williams and the Poetics of Ending Others

Kerry Driscoll, “Inversions, Evasions, Strange Machinations of Desire: William Carlos Williams and the Baroness Revisited”

Bruce Holsapple, “Williams on Form: Kora in Hell

Tom Orange, “William Carlos Williams Between Image and Object”

Piotr Parlej, “Imagine the Outside: Metaphor in William Carlos Williams”

Michael Boughn, “Reanimated Numbers and Sounding’s Modulations in Two Poems by William Carlos Williams”

George W. Layng, “Rephrasing Whitman: Williams and the Visual Idiom”

Mark Gorey, “Reading Paterson Book One: The Interpenetration of Metaphor and the ‘Gathered Spray’ of Language”

Brian M. McGrath, “Towards a Poetry of the Present: William Carlos Williams’s Paterson, Book Three”

Shane Rhodes, “Matrimony of the Sign: The IDea and the Thing in William Carlos Williams’s Paterson

Darryl Whetter, “Pounding the Concrete: Williams’s Paterson as Typographical Pastoral”

Norman Finkelstein, “The Crisis of Language and Poetic Identity in Williams’s ‘The Desert Music'”

Aldon Nielsen, “William Carlos Williams and the New Black Poetries”

Donald Wellman, “A Complex Realism: Reading Spring and All as Seminal for Postmodern Poetry”

Cover: Fragment of a Williams poem, courtesy of the William Carlos Williams estate, New Directions Publishing Corp., New York, New York. Reproduced with the permission of The Poetry/Rare Books Collection, University Libraries, University at Buffalo, The State University of New York.

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WINTER 1993

CONTENTS

Virginia M. Kouidis, “William Carlos Williams Among the Nightingales: The Erotics and Poetics of the Modernist Love Song”

Nicole Cooley, “‘The Act is Disclosed by the Imagination of It’: Frottage, Collage and the American Origin in the Work of William Carlos Williams”

Chris Beyers, “Marianne Moore’s and John James Audubon’s Frigate Pelican”

Cramer R. Cauthen, “Deep Image and the Poetics of Oppen’s ‘Of Being Numerous'”

Anne Dewey, “History as a Force Field in Pound, Zukofsky, and Olson”

Thomas F. Bertonneau, “Life in a Human Universe: Charles Olson’s (Post) Modernism in Context (An Antropoetics)

Review

Stephen Fredman (Modernism/Modernity, eds. Lawrence Rainey and Robert von Hallberg)

Cover photograph by Burton Hatlen.

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SPRING and FALL 1992

CHARLES REZNIKOFF ISSUE

Dove Sta Memora

Charles Reznikoff, “Letters to Marie Syrkin: A Selection”

Milton Hindus, “A Poet’s Contribution to Shakespearean Interpretation and Criticism: Charles Reznikoff’s Short Story (and Appended Notes) Entitled ‘A Story for a Dramatist,’ The Menorah Journal 28.3 (Autumn 1940): 269-278″

Charles Reznikoff, “A Story for a Dramatist”

Greogorio Leti, “Excerpt from The Life of Pope Sixtus V”

The Vortex

Stephen Fredman, “Call Him Charles”

Genevieve Cohen-Cheminet, “Serial Rhythm in Charles Reznikoff’s Poetry: A Tentative ‘Misreading'”

Bruce Holsapple, “Poetic Design in Reznikoff’s Testimony

Burton Hatlen, “Objectivism in Context: Charles Reznikoff and Jewish-American Modernism”

Tom Lavazzi, “Poetic Discourse v. Legal Discourse: The Case of Charles Reznikoff”

Matthew Sweney, “Deposition: The First Testimony (1934)”

Henry Weinfield, “‘Wringing, Wringing His Pierced Hands’: Religion, Identity and Genre in the Poetry of Charles Reznikoff”

Milton Hindus, “Centennial for a Saunterer”

Benjamin Hollander, “The Eloquence in Question: Reznikoff’s ‘Manner'”

The Reviewer

Mark Scroggins (Jerome McGann, Black Riders: The Visible Language of Modernism)

Peter Kidd (Charles Olson, Maximus to Gloucester, ed. Peter Anastas)

David Grubbs (Sandra Kumamoto Stanley, Louis Zukofsky and the Transformation of a Modern American Poetics)

Peter Baker (Bruce Comens, Apocalypse and After: Modern Strategy and Postmodern Tactics in Pound, Williams, and Zukofsky)

Richard Blevins (Judith Roche, Myrrh/My Life as a Screamer)

Cover photograph of Charles Reznikoff with his niece, Camilla, 1932-33. Printed with permission of Camilla Reznikoff Wygan.


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WINTER 1993

Intersections of the Lyrical and the Philosophical
Guest edited by Stephen Fredman and Henry Weinfield

CONTENTS

Stephen Fredman, “Intersections of the Lyrical and the Philosophical”

Michael Heller, “Oppen and Stevens: Reflections on the Lyrical and the Philosophical”

Norman Finkelstein, “Bronk, Duncan and the Far Border of Poetry”

Michael Palmer, “Poems”

Grant Jenkins with Teresa Aleman and Donald Prues, “An Interview with Michael Palmer”

Ross Feld, “Some Thoughts about Objectivism”

Henry Weinfield, “‘A Thousand Threads’ and ‘The One Things’: Oppen’s Vision (A Reply to Ross Feld)”

Jeffrey Peterson, “The Siren Song of the Singular: Armantrout, Oppen, and the Ethics of Representation”

John Shoptaw, “Lyric Incorporated: The Serial Object of George Oppen and Langston Hughes”

Krzysztof Ziarek, “The Poetics Event: Stein, the Avant-Garde, and the Aesthetic Turn of Philosophy”

Paul Naylor, “On Certainty (A.K.A. Negative Capability)”

Robert Duncan photograph by Burton Hatlen; George Oppen photograph (1970), courtesy of Mary Oppen; William Bronk photograph courtesy of Paul Pines.

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FALL 1993

CONTENTS

The Vortex

Stacy Carson Hubbard, “The Many-Armed Embrace: Collection, Quotation and Mediation in Marianne Moore’s Poetry”

Vicki Graham, “‘The Power of the Visible’: Marianne Moore and the ‘Mimetic Faculty'”

Teresa Fulker, “Not-War and the Inspiration of the Gloire in H.D.’s Bid Me to Live

Richard Frye, “‘Ascent to a Higher Plane’: The Fourth Dimension and the Imagination in Williams’s Kora in Hell and Spring and All

Penny Tselentis-Apostolidis, “On Olson’s Geographic Methodology: Quoting, Naming, Pacing and Mapping”

Susan M. Schultz, “‘The Lyric Crash’: The Theater of Subjectivity in John Ashbery’s Three Poems

The Reviewer

Richard Lowell Blevins (David Rattray, How I Became One of the Invisible)

Cover photograph by Burton Hatlen.

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WINTER 1992

CONTENTS

The Vortex

Rae Armantrout, “Feminist Poetics and the Meaning of Clarity”

Peter Quartermain, “Syllable as Music: Lyn Hejinian’s Writing Is an Aid to Memory

Shawn Alfery, “Toward Intersubjective Knowledge: H.D.’s Liminal Poetics”

Caroline Zilboorg, “Richard Aldington’s ‘Blizzard’: A Reading in Context”

Jeffery Twitchell, “Tuning the Sense: Cavalcanti, Marx, Spinoza and Zukofsky’s ‘A’-9”

Steve Shoemaker, “Carl Rakosi Interview”

The Reviewer

Norman Finkelstein (William Bronk, Some Words; Burt Kimmelman, Musaics)

Mark Scroggins (Peter Quartermain, Disjunctive Poetics: From Gertrude Stein and Louis Zukofsky to Susan Howe)

Burton Hatlen (American Poetry Today: Innovators and Outsiders, ed. Eliot Wienberger)

Cover photograph by Marie McCosh Alpert.

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