English 712: Modern American Poetry
Tuesdays 10:30-12:30 (=1:00 or later if possible)
English Department, Temple University
Rachel Blau DuPlessis
Office hours in 954 Anderson; itís more convenient if you make an appointment. Good times would be before class on Tuesdays (9-10); after class on Tuesdays, but other times are possible.
We will study modernist poetries up to about 1935, centering in the teens and twenties. We will read a variety of figures, some in depth: Stein, Williams, Moore, Eliot, Pound, Loy, H.D., Stevens, Crane, Hughes, Brown, Toomer, Johnson, Zukofsky, Oppen. It is the aim of this course to begin build a new sense of modern literary history or histories. The course is interested in the ways ideologies and debates (about gender, race, class, national culture, religious culture, sexualities) emerge in poetic texts, not only as theme, but in the poetic texture. I postulate that the poetry of the time drew upon, helped to create, and responded to several important positions for social subjects: New Negro, New Woman, New Jew. These subject positions brought other issues and subjectivities in their wake, including the discourses of whiteness, of maleness/ manhood/ masculinity, of mongrelization, and of hegemonic Christianity. Of course, emphasis will also be placed 1) on the form of the text 2) on poetics--assumptions about the practices of language, the functions of poetry, the theory behind the poem, and 3) on affiliations--on the poets' many interactions and literary affiliations, including the ways poets comment upon each other, and create the dissemination patterns of their work.
You need to pay attention to chronology if you want to build up a historical sense of the period. Please use dates in all of your work (in reading, writing, discussing, reporting).
This is meant to be a daunting syllabus of record. More is on it than can be "covered" in class. Please begin to build paper topics around materials that interest you. I will also suggest paper topics. Topics may grow "naturally" out of in-class reports, which are on a variety of things throughout the semester. I will indicate what we will discuss in class with asterisks. ** Even this is no guarantee that we will get to all things that are marked.
Aside from the study of individual poems, grouped in revelatory ways, the ancillary reading and study in this course can occur through several grids (some are emphasized here). Poet's essays: commentary, letters, manifestoes from the period taken as literary texts and interactions; Social essays: commentary, manifestoes, cultural analysis contemporaneous with the poetry for a sense of the social texts of this period; Critical Theory : apt terms for discussion; Scholarly Articles: analyses of issues and topics in literature, cultural studies, and history. The journals, little magazines, and organs of dissemination of that time offer a sense of how certain works appeared in context. A student might be interested in visual texts which show what contemporaneous modern artists were producing, and what icons of popular or commercial design and fashion were contemporaneous.
Writing Assignments: will be elaborated separately. 1) Three response papers--due 9 September, 21 October, and at or just after you give the oral report 2) one structured paper, article length plus a one page abstract or summary of findings, due 9 December 3) in-class oral report. The expectation is that the report will treat some of the materials listed on this syllabus/bibliography. Please see me before you begin working on the report to check out what is relevant in your particular case. The report will be written up as one of the response papers. 4) There will be at least one conference with me about your papers, your writing, your topics, your intellectual life in general.
Required Books ordered at SAC (Student Activity Center--Student Store)
T.S. Eliot, The Collected Poems (1909-1962), Harper & Row
ed. David Levering Lewis, The Portable Harlem Renaissance Reader. Viking, 1994.
[Marianne Moore, The Complete Poems of Marianne Moore, Viking, 1967 seems to be out of print. I have photocopied Moore, Observations, 1924 instead.]
Ezra Pound, Personae, New Directions
Gertrude Stein,Tender Buttons, Sun & Moon
Wallace Stevens, Collected Poems, Random House
William Carlos Williams, The Collected Poems of William Carlos Williams, vol. I (1909-1939), New Directions
Work by Mina Loy, H.D., will be found on reserve in a reading packet or portfolio in the library (Reserve Desk, Ground Floor, Paley Library). Much of this is also available in the books on reserve. Please check both possibilities. A list of works on reserve occurs at the end of this syllabus.
The Norton Anthology of Modern Poetry, second edition, ed. Ellmann and O'Clair has notes on some poems (Mauberley, The Waste Land), a convenient way of reading certain works (by Crane, Cullen), and a vast compendium of implicit statements about the canon.
2 September: Objectivist/Symbolist
**H.D., "Hermes of the Ways," (w. 1912); "Sea Rose" (1916); "Storm," "Oread," "The Islands (1921)."
**Pound,"In a Station of a Metro" (1913), 109; "Tsiai Chi-h," 108; "Apparuit," 68. "The Jewel Stairs' Grievance," 132.
**Eliot, "Preludes" (w. 1910-11; pub 1915); "Rhapsody on a Windy Night" (1911)
**William Carlos Williams, Al Que Quiere! (1917) especially ** "January Morning"; optional, The Descent of Winter, 1928, but see esp. **10/22 ("that brilliant field"). 294.
Wallace Stevens, "Of Mere Being" (1955), "The Snow Man" (1921), "Nuances of a Theme by Williams" (1918), "Thirteen Ways of Looking at a Blackbird" (1917), "Anecdote of the Jar" (1919), "Sea Surface Full of Clouds" (1924), "Of Modern Poetry" (1940).
Jean Toomer, "Five Vignettes" (1919-21); on reserve
George Oppen, Discrete Series (w. 1928-1930; pub. 1934).
Critical Theory: Roman Jakobson, "Two Aspects of Language and Two Types of Aphasic Disturbances," in Language in Literature (Harvard University Press, 1987). Skim until you get to p. 109.
**Poet's Essays: Pound, "A Retrospect," 1918 (which contains "A Few Don'ts," on Imagism, 1913), Literary Essays, 3-14.
**Literary Criticism: Marjorie Perloff, "Pound/ Stevens: whose era?" The Dance of the intellect: studies in the Poetry of the Pound Tradition, Cambridge U.P., 1985.
Due: one response paper, simply applying the metaphor/ metonomy and symbolist/ objectivist binary to a poem on the reading list not discussed in class on 2 September. Possible use of critical theory, poetís essay, literary criticism for Ph.D. students. Tasks--summary, application, extension. (The person doing the student report on 9 Sept. is exempt from this assignment for a week.)
Read all the poetry in Lewis, ed. The Portable Harlem Renaissance Reader. Place special emphasis upon work by **Countee Cullen, especially "Incident," "Yet Do I Marvel," "Heritage," "Tableau," and (Xerox) "Uncle Jim," and **Langston Hughes, especially "The Negro Speaks of Rivers (1926)" "America," "The Weary Blues (1926)" "Mother to Son," "Red Silk Stockings," "Dream Variation (1926)" "Advertisement for the Waldorf-Astoria." "Brass Spittoons" (1927) (in Norton Anthology, 647-49) "I, Too, Sing America" (1926), (in Poetry of the Negro).
**Langston Hughes, "The Negro Artist and the Racial Mountain." in Lewis, ed.
**Countee Cullen, Introduction to Caroling Dusk: An Anthology of Verse by Negro Poets (1927); poem "To Certain Critics" (xerox)
**Alain Locke, "The New Negro" (1925) in Lewis, ed.
Charles S. Johnson, "The Negro Renaissance and its Significance," (1954) in Lewis, ed.
Student Report: the debate between Cullen and Hughes.
Scholarly Book: Houston A. Baker, Jr., Modernism and the Harlem Renaissance. University of Chicago Press, 1987.
Overview: Arnold Rampersad, "The Poetry of the Harlem Renaissance." In Parini, ed. The Columbia History of American Poetry.
Scholarly Article: J. Saunders Redding, Chap 4: "The Emergence of the New Negro" in To Make a Poet Black (1939). Cornell U.P. 1988.
Henry Louis Gates, Jr., "ë...and bid him singí: J. Saunders Redding and the Criticism of American Negro Literature." introduction of To Make a Poet Black. Cornell U.P. 1988.
Look at the anthology The New Negro: an Interpretation, ed Alain Locke. NY: Boni, 1925
Look at the periodical The Crisis.
16 September: What is the "New Negro" in poetry? Social subjectivity and poetic vision.
Student Report: Genre and African American work in poetry. The ballad and its uses. The question of "folk" materials in poetry, dialect in poetry, influence of blues and jazz. Aesthetic and political debates on the ballad.
**James Weldon Johnson, "The White Witch," "Go Down Death--A Funeral Sermon (1927)," "O Black and Unknown Bards," all in Lewis, ed. Also "St Peter Relates an Incident of the Resurrection Day"; "Dialect Poems" (a prose note), all from Saint Peter Relates an Incident, 1935. "St. Peter Relates" also from ed. Hayden, Kaleidoscope.
**Claude McKay, "If We Must Die..." (1922); "The Harlem Dancer," "The Desolate City," all from Lewis, ed. "The White City" (1922), in Norton Anthology, 516-19.
Helene Johnson, "Poem" (Little brown boy) in Lewis, ed, "Magalu," in Poetry of the Negro.
Jean Toomer, "Song of the Son," Georgia Dusk," The Blue Meridian," in Lewis, ed.
Fenton Johnson, "Tired," "The Minister," "The Banjo Player," in Hayden, ed., Kaleidoscope. "The Banjo Player" in Lewis, ed.
**Sterling Brown, "Southern Road," "Odyssey of Big Boy," "Frankie and Johnny,""Ma Rainey," "Long Gone," "Georgie Grimes," "Remembering Nat Turner," all in Lewis, ed. See also "When de Saints Go Ma'ching Home," "Johnny Thomas," "Sam Smiley," "New St. Louis Blues," "Slim Greer," "Slim in Hell." (all from c. 1932), The Collected Poems of Sterling Brown.
Anne Spencer, "Lady, Lady" in Lewis, ed.
Angelina Weld Grimke, "Tenebris," in Poetry of the Negro.
Social Essay: W. E. B. DuBois, The Souls of Black Folk (all of Chapter 1, "Of Our Spiritual Strivings" and paragraph one of Chapter 2: "Of the Dawn of Freedom"), 1903.
Poet's Essay: James Weldon Johnson, "Introduction to the First Edition [of Sterling Brown's Southern Road (1932),]" in The Collected Poems of Sterling A. Brown, TriQuarterly Books, 1989.
James Weldon Johnson, Preface, The Book of American Negro Poetry. Harcourt, Brace, and World, 1931. Especially 3-22 and 40-48. Also see "Dialect Poems," in Saint Peter Relates an Incident, 1935
Poetís Essay: Sterling Brown, "Our Literary Audience" (1930). In Within the Circle: An Anthology of African American Literary Criticism from the Harlem Renaissance to the Present., Ed. Angelyn Mitchell. Duke UP, 1994.
Harryette Mullen reading 18 September, Temple Gallery, 8: 00 PM. Required.
23 September Harryette Mullen lecture on "Black Chant: Expanding the Repertoire of African-American Poetry." Professor Mullen is the Poet-in-Residence, Fall 1997. She will deliver her lecture during the class hour.
Professor Mullen writes that the lecture will engage Nathaniel Mackeyís Discrepant Engagement: Dissonance, Cross-Culturality, and Experimental Writing and Aldon Nielsenís Black Chant: Languages of African-American Postmodernism. Each of these critics is to some extent responding to the reality that a broad range of writing practices is evident in the work of African-American and African-Caribbean writers; to the cross-cultural and reciprocal influences of black writers and writers of other races, ethnicities, and cultural origins; as well as to the recent establishment of a canon of African-American literature that has been shaped by the powerfully influential work of scholars such as Henry Louis Gates and Houston Baker.
30 September. Racial Discourses in Anglo-American [White] Poets
**Stevens, "The Silver Plough-Boy" (1915); "In the Carolinas" (1917); "Bantams in Pine-Woods" (1922); "Hymn from a Watermelon Pavilion" (1922); "Floral Decoration for Bananas" (1922); "The Virgin Carrying a Lantern" (1923); "Like Decorations in a Nigger Cemetary" (1935); "Some Friends from Pascagoula" (1935); "Farewell to Florida" (1936).
**Loy, "To You" (Xerox)
**Moore, "Black Earth" (in Observations)
**Pound, "Doggerel Section of Letter to Marianne Moore, 1 Feb 1919," in The Gender of Modernism, 362-365.
**Vachel Lindsay, "The Congo" (1914), from ed. Langston Hughes and Arna Bontemps, The Poetry of the Negro 1746-1970, in the section "Tributary Poems by Non-Negroes"
Eliot, "Sweeney Agonistes" (1923-24, pub. 1927)
Crane, "Black Tambourine" (1921), Norton Anthology, 600.
(optional) Nancy Cunard, in The Gender of Modernism, Friedman, Introduction, and Cunard, "Harlem Reviewed," 73-78.
Student Report: With the analysis of the "primitive" as a focus, offer an overview of the following recent work--selected as you want, or as you can--in scholarship and theory: 1) Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Chapters I and 3), Havard U.P., 1992. 2) Michael North, "The Dialect in/of Modernism--Pound's and Eliot's Racial Masquerade," American Literary History 4, 1 (Spring 1992). (OR see Michael North, The Dialect of Modernism: Race, Language & Twentieth-Century Literature. Oxford 1995. 3) Rachel Blau DuPlessis, "ëHOO, HOO, HOOí: Some episodes in the construction of modern whiteness." American Literature 67, 4 (December 1995): 667-700. 4) Shelley Fisher Fishkin, "Interrogating ëWhitenessí; Complicating ëBlacknessí: Remapping American Culture, in Criticism and the Color Line: Desegregating American Literary Studies, ed. Henry B. Wonham, Rutgers U.P. 1996. (also in periodical form--ref?) 5) Susan Gubar, Racechanges: White Skin, Black Face in American Culture. Oxford U.P., 1997.
Scholarly Article: (optional) Hal Foster, "The 'Primitive' Unconscious of Modern Art, or White Skin Black Masks," in Recodings: Art, Spectacle, Cultural Politics (Bay Press, 1985)
Student Report: Little Magazine Report. Describe and analyze The Freewoman/ The New Freewoman/ The Egoist. What did each journal stand for or seem to stand for? What debates are elaborated in the journals and their shifts? See Bruce Clarke, Dora Marsden and Early Modernism. See K.K. Ruthven, Ezra Pound as Literary Critic, 73-80. See Gillian Hanscombe and Virginia L. Smyers, Writing for their Lives: The Modernist Women 1910-1940.
**Pound, Ripostes (1912), Lustra (1916), including "Portrait d'une Femme" (1912), "Tenzone," 81; "The Condolence," 82; "Salutation the Second," 85-86; "The Commission," 88-89 "The Garret,"; "The Garden," ;
**Eliot, "Portrait of a Lady" (1910), "The Love Song of J. Alfred Prufrock" (1911), "Hysteria" (1915)
Williams, "Transitional" (1914); "Danse Russe" (1917); "The Young Housewife" (1916); "The Ogre."
**Loy, "Parturition", "Three Moments in Paris"; also (optional) "Songs to Joannes." The Lost Lunar Baedeker
**Moore, "He Wrote the History Book" (1916), 89; "The Monkeys" (1917), 40; "Novices" (1923), 60-61; "Roses Only", "Radical," (1924).
H.D., "Eurydice" (1917); "Sheltered Garden" (1916); "Fragment 36"; "Fragment 113."
Stevens, "Bowl, Cat and Broomstick" (1917), 23-35 (a play); "The Apostrophe to Vincentine" (1918), 38; "The Idea of Order at Key West" (1934), 97; "The Emperor of Ice-Cream" (1922), 79.
**Poetís Essays: Loy, "Feminist Manifesto" in The Lost Lunar Baedeker.
Poet's Essays: Pound, "Postscript to The Natural Philosophy of Love by Rémy de Gourmont" (1922), in Pavannes and Divigations.
H.D., "Notes on Thought and Vision" (1919), in The Gender of Modernism, 93-109; see as optional 85-92, Friedman's introduction to H.D.
(optional) Ronald Bush, Introduction to Ezra Pound, in The Gender of Modernism, 353-359.
(optional) Griselda Pollock, "Modernity and the spaces of femininity," in Vision and Difference: Femininity, Feminism and the Histories of Art (Routledge, 1988).
14 October: The New Woman. Gender narratives and the scene of writing, Moore
Student Report What is the "New Woman" subjectivity in poetry? Use June Sochen, The New Woman in Greenwich Village, 1910-1920. Lois Rudnick, "The New Woman," in 1915: The Cultural Moment, ed. Heller and Rudnick. Ann Ardis, New Women, New Novels. Sally Mitchell, ed. The Victorian Encyclopedia, under New Woman, feminism, feminist writing, suffrage. Carolyn Burke, "New Poetry and New Women," in Coming to Light: American Women Poets in the Twentieth Century, ed Middlebrook and Yalom.
** Moore, "Marriage" (1923).
**Loy, "The Effectual Marriage, or, The Insipid Narrative of Gina and Miovanni,"; "Virgins Plus Curtains Minus Dots."
Pound, "The Ineffectual Marriage" (from Loy), in Scott, ed.
Stein, "Miss Furr and Miss Skeene," (1922); "As a Wife Has a Cow, A Love Story" (1926).
**Moore, "To a Steam Roller" (1915),"Critics and Connoisseurs" (1916), "Sojourn in the Whale" (1917),"Poetry" (1919), "In the Days of Prismatic Color (1921), "A Grave" (1921), "New York" (1921), "Peopleís Surroundings" (1922), "The Labors of Hercules," "An Octopus" (1924). (repeated from last week) "He Wrote the History Book" (1916), "The Monkeys" (1917), "Novices" (1923), "Roses Only", "Radical" (1924).
Poet's Essays: Williams, "Marianne Moore," in Selected Essays.
21 October: Gender Narratives and the scene of writing: Stein
Student Report: Soundings in the problem of reading (decoding?) Stein: modernist? postmodernist? lesbian? Kristevan (pre-symbolic)? other? See and present some of the positions of: Marianne DeKoven, A Different Language: Gertrude Steinís Experimental Writing; Harriet Chessman, The Public is Invited to Dance; Elizabeth Fifer, Rescued Readings: A Reconstruction of Gertrude Steinís Difficult Texts (Wayne State UP 1992), Judy Grahn, Really Reading Gertrude Stein (an anthology with essays) (Crossing Press, 1989), Neil Schmitz [book on comic writing/ Stein as post-modernist]. Marjorie Perloff, "Poetry as Word-System: The Art of Gertrude Stein," in The Poetics of Indeterminacy: Rimbaud to Cage (Princeton University Press, 1981), Marjorie Perloff, "ëA Fine New Kind of Realismí: Six Stein Styles in Search of a Reader," Poetic License: Essays on Modernist and Postmodernist Lyric. (Northwestern U.P., 1990). Charles Bernstein, "Professing Stein/ Stein Professing, in A Poetics, Peter Quartermain, Disjunctive Poetics: From Gertrude Steoin and Louis Zukofsky to Susan Howe, and others, as you wish.
Second Response Paper: This paper is some kind of exploratory sketch of your final project. It can take the form of a letter to me, outlining a topic, questions that interest you that you might be able to answer, resources that you will use. Theoretical essays, critical essays, poet-generated documents should be at least listed as a bibliography or promissory note. At least one close reading of something should occur (an essay by the poet, a letter or set of letters, the poetic texts in question). This paper is a sketch-pad only and you are not anchored to its findings or methods. (Student doing the report today has a little extra time to do this second response paper.)
**Gertrude Stein, Tender Buttons (1914).
Loy, "Joyce's Ulysses"; "Gertrude Stein"; "O Marcel...Otherwise I Also Have Been to Louise's" (1917).
Poet's Essays: Mina Loy, "Gertrude Stein," in The Gender of Modernism, 238-245, also Burke's introduction, 230-238.
Williams Carlos Williams, "The Work of Gertrude Stein" (1931), Selected Essays of William Carlos Williams.This essay was probably a collaboration between Williams and Louis Zukofsky, see Quartermain, 91-92 and 213-214.
(optional) Raymond Williams, "Language and the Avant-Garde," The Politics of Modernism, ed. Tony Pinkney (Verso, 1989)
28 October: The War, Subject position of modern men, and cultural diagnosis: Pound.
Student Report: Little Magazine Report. Describe and analyze Blast, Exile. (two magazines with which Pound was deeply involved)
**Pound, "Hugh Selwyn Mauberley" (1919-1920), 61-77, and/or in the Norton Anthology (for annotations)
**Pound, early cantos I, II, III, IV; VII, VIII; XII, XIII; XIV, XV, XVI (the "Hell Cantos"); XVII, XX, XXI, XXIX, XXX, XXXV.
Stevens, "The Death of a Soldier" (1918), "Cortege for Rosenbloom," "The Man Whose Pharynx Was Bad" (1921),
H.D., From The Tribute (1914-17), "Calypso" (1931/38), "A Dead Priestess Speaks" (1931/38).
Peter Middleton, The Inward Gaze: Masculinity and Subjectivity in Modern Culture, Routledge, 1992, especially Introduction, and Chapter 3, "The Martian Landscapes of Modernism: Joyce, Yeats, Lawrence," and the end of the book.
Paul Fussell, The Great War and Modern Memory, passim. Chapter IX, "Persistence and Memory"
4 November: The Formation of Post-War [American/ Anglo-American] Consciousness: The Waste Land, and its discussants.
**Eliot, The Waste Land (1922)
Student Report: Pound/ Eliot, The Waste Land mss. Present and describe the interaction between the poets, the poem Eliot showed Pound, what is in it, the nature of the changes. (Please take this topic only if you have read The Waste Land before, even studied it.)
Scholarly Essay: Wayne Koestenbaum, "The Waste Land: T. S. Eliot's and Ezra Pound's Collaboration on Hysteria," in Double Talk: The Erotics of Male Literary Collaboration (Routledge, 1989).
Critical Theory: M.M. Bakhtin on heteroglossia, pp. 260-264, 275-300 (with special attention to 285 ff), 324-331, in The Dialogic Imagination.
11 November: Post-War American Consciousness: The Waste Land, and its discussants.
**Williams, Spring & All (1923).
Louis Zukofsky, "Poem beginning 'The'" (1926).
Sterling Brown, "Caberet" (1927).
**Hart Crane, "Proem: To Brooklyn Bridge" (1923-1930), Norton Anthology, 612-614, and the section called "The Tunnel" of The Bridge. If you have time, The Bridge in toto.
18 November: bibliographic and dissemination day. Little Magazines; and issues in dissemination; the state of editions and dissemination.
Any student who has not yet offered an oral report will do so today. Here are three categories of topics:
1. The Little Review, The Dial, Broom, Poetry, [The Freewoman/ The New Freewoman/ The Egoist], The Crisis, Fire and Opportunity.--reports on one run of a magazine (Fire and Opportunity should be treated together). For long-lived journals (like Poetry or The Crisis or The Dial), choose a 10-15 year period within the time-frame of this course (1910-1935 approx.) and do soundings. All these magazines are at Temple University Libraries (Paley or the Charles Blockson Collection). A resource to consult is Jayne E. Marek, Women Editing Modernism: "Little" Magazines & Literary History. Could see also Gillian Hanscombe and Virginia L. Smyers, Chapters 10 and 11 in Writing for Their Lives: The Modernist Women 1910-1940.
2. Report on the state of availability and nature of editions of (choose one) Pound, Moore, Loy, Williams, Eliot, Crane, Stein, Hughes, Cullen. Discuss poetry, essays, letters. Use annotated bibliographies of individuals, use prefaces, apparatuses to each scholarly edition, if available. Discuss issues in textuality as they emerge in each case (such as Marianne Mooreís changing her poems). A resource to consult is George Bornstein, ed., Representing Modernist Texts: Editing as Interpretation.
3. The depiction of modern American poetry in anthologies; there are a variety of issues that can be chosen, but generally one is interested in the picture of modern poetry drawn in a given anthology--focus perhaps on one or two authors. 1) soundings in the history of the Norton (both the general one and 2) the two editions of the Norton Modern Poetry), 3) the Heath anthology, 4) Poems for the Millenium. 5) Discussions of the anthologies (especially contemporaneous ones) presenting African-American poets of the Harlem Renaissance
critical issues: dissemination and canon formation
Critical Essays: Cary Nelson, Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory,1910-1945, Introduction to p. 41; 123-134; 230-240.
25 November --Calendar Adjustment. Follow your Thursday schedule; hence no class in English 712.
2 December: New Jew, mongrel, and Christian discourses in poetry
**Mina Loy, "Anglo-Mongrels and the Rose"; Loy, "American Language" (1925)
**Eliot, "Mr. Eliotís Sunday Morning Service," "Burbank with a Baedeker; Bleistein with Cigar" (1920); "Sweeney Among the Nightingales" (1920); "Gerontion" (1920), Ash-Wednesday (1930). After Strange Gods (1933), with attention to pp.19-20.
Zukofsky, "Poem Beginning ëTheí" (1926)
Pound, "Yiddischer Charleston Band." Could add selections from Guide to Kulchur.
Anthony Julius, T.S. Eliot, anti-Semitism, and Literary Form.
Byron Cheyette, Constructions of ëthe Jewí in English Literature and Society. Racial Representations, 1875-1945.
9 December: Papers due and class presentation of paper findings. Reports on papers--abstracts circulated to class. Colloquium format.
Works on Reserve (alphabetical listing). If some are missing, consult me for help.
Ann Ardis. New Women, New Novels: Feminism and Early Modernism (Rutgers U.P., 1990).
Houston A. Baker, Jr., Modernism and the Harlem Renaissance (University of Chicago Press, 1987).
M. M. Bakhtin, The Dialogic Imagination, ed Michael Holquist (University of Texas Press, 1981).
Charles Bernstein, "Professing Stein/ Stein Professing," in A Poetics (Harvard U.P., 1992).
George Bornstein, ed., Representing Modernist Texts: Editing as Interpretation (University of Michigan Press, 1991).
Sterling A. Brown, The Collected Poems of Sterling A. Brown, ed. by Michael S. Harper (TriQuarterly Books, by arrangement with Harper & Row, 1989).
Carolyn Burke, "New Poetry and New Women," in Coming to Light: American Women Poets in the Twentieth Century, ed Diane Wood Middlebrook and Marilyn Yalom (University of Michigan Press, 1985): 37-57.
Byron Cheyette, Constructions of ëthe Jewí in English Literature and Society. Racial Representations, 1875-1945 (Cambridge U.P.1993).
Bruce Clarke, Dora Marsden and Early Modernism: Gender, Individualism, Science (University of Michigan Press, 1996).
Countee Cullen, My Soulís High Song, ed. Gerald Early (Doubleday, 1991).
William E. B. DuBois, Souls of Black Folk (1903); any convenient edition.
T. S. Eliot, After Strange Gods: A Primer of Modern Heresy. The Page-Barbour Lectures at the University of Virginia, 1933 (Faber & Faber, 1934).
T. S. Eliot, To Criticize the Critic: Eight Essays on Literature and Education (Farrar, Straus & Giroux, 1965).
T.S. Eliot, The Waste Land. A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. Ed. Valerie Eliot. Harcourt, Brace, Jovanovich, 1971.
Robert Hayden, ed., Kaleidoscope: Poems by American Negro Poets (Harcourt, Brace & World, 1967).
Adele Heller and Lois Rudnick, 1915: The Cultural Moment (Rutgers University Press, 1991).
Gillian Hanscombe and Virginia L. Smyers, Writing for their Lives: The Modernist Women 1910-1940 (Northeastern University Press, 1987).
ed. Langston Hughes and Arna Bontemps, The Poetry of the Negro 1746-1970 (Doubleday & Company, Inc., 1949/1970)
Roman Jakobson, "Two Aspects of Language and Two Types of Aphasic Disturbances," in Language in Literature (Harvard University Press, 1987).
James Weldon Johnson, "Dialect Poems," Saint Peter Relates an Incident, 1935.
Anthony Julius, T.S. Eliot, Anti-Semitism, and Literary Form (Cambridge U.P., 1995).
Wayne Koestenbaum, Double Talk: The Erotics of Male Literary Collaboration (Routledge, 1989).
ed. Alain Locke, The New Negro: an Interpretation (Boni, 1925).
Mina Loy, The Last Lunar Baedeker, ed Roger L. Conover (The Jargon Society, 1982). This is listed for the bibliographic reference, but Paley does not own it. Anglo-Mongrels and the Rose is available in this volume. See photocopy.
Mina Loy, The Lost Lunar Baedeker, ed Roger L. Conover (Farrar Straus Giroux, 1996).
Jayne E. Marek, Women Editing Modernism: "Little" Magazines & Literary History (University Press of Kentucky, 1995).
Toni Morrison, Playing in the Dark: Whiteness in the American Literary Imagination (Harvard University Press, 1992).
Cary Nelson, Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory,1910-1945 (The University of Wisconsin Press, 1989).
George Oppen, The Collected Poems of George Oppen (New Directions, 1975).
Jay Parini, ed. The Columbia History of American Poetry (Columbia U.P., 1993).
Marjorie Perloff, "ëA Fine New Kind of Realismí: Six Stein Styles in Search of a Reader," Poetic License: Essays on Modernist and Postmodernist Lyric. (Northwestern U.P., 1990).
Marjorie Perloff, section IV from "Lucent and Inescapable Rhythms: Metrical 'Choice' and Historical Formation," in The Line in Postmodern Poetry, ed. Robert Frank and Henry Sayre (University of Illinois Press, 1988).
Marjorie Perloff,"Pound/Stevens: whose era?" The Dance of the Intellect: Studies in the Poetry of the Pound Tradition (Cambridge U.P., 1985; rpt. Northwestern U.P. 1995).
Griselda Pollock, "Modernity and the spaces of femininity," in Vision and Difference: Femininity, Feminism and the Histories of Art (Routledge, 1988).
Ezra Pound, Pavannes and Divagations (New Directions, 1958).
Ezra Pound, Literary Essays of Ezra Pound, ed. T. S. Eliot (Faber & Faber, 1954).
Peter Quartermain, Disjunctive Poetics: From Gertrude Steoin and Louis Zukofsky to Susan Howe (Cambridge UP, 1992).
J. Saunders Redding, To Make a Poet Black (1939), (Cornell University Press, 1988).
K.K. Ruthven, Ezra Pound as Literary Critic (Routledge, 1990).
Bonnie Kime Scott, ed., The Gender of Modernism: A Critical Anthology (Indiana University Press, 1990).
Jean Toomer, The Collected Poems of Jean Toomer, ed. Robert B. Jones and Margery Toomer Latimer (University of North Carolina Press,1988).
Raymond Williams, "Language and the Avant-Garde," The Politics of Modernism, ed. Tony Pinkney (Verso, 1989).
William Carlos Williams, Selected Essays of William Carlos Williams (Random House, 1954).
Louis Zukofsky, ALL the collected short poems, 1923-1958 (W.W. Norton, 1965).