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The letter from Jose Rodriguez Feo that prompted Stevens's poem was the third in a ten-year correspondence (1944-54) between the poet and the young Cuban, who quickly became Stevens's "most exciting correspondent." The two shared a Harvard education, both were anxious to see Stevens translated for a Cuban audience, and each had an enduring admiration for Santayana, whose awareness of the cultural tensions between the Northern and Southern hemispheres formed a basis for the protracted argument between Stevens as the practical, Protestant father and the passionate Rodriguez Feo. The Cuban's descriptions of his life at the Villa Olga, of his black-and-white cow Lucera and his mule Pompilio, del...
The letter from Jose Rodriguez Feo that prompted Stevens's poem was the third in a ten-year correspondence (1944-54) between the poet and the young Cuban, who quickly became Stevens's "most exciting correspondent." The two shared a Harvard education, both were anxious to see Stevens translated for a Cuban audience, and each had an enduring admiration for Santayana, whose awareness of the cultural tensions between the Northern and Southern hemispheres formed a basis for the protracted argument between Stevens as the practical, Protestant father and the passionate Rodriguez Feo. The Cuban's descriptions of his life at the Villa Olga, of his black-and-white cow Lucera and his mule Pompilio, del...
The work of Wallace Stevens has been read most widely as poetry concerned with poetry, and not with the world in which it was created; deemed utterly singular, it seems to resist being read as the record of a life and times. In this critical biography Alan Filreis presents a detailed challenge to this exceptionalist view as he traces two major periods of Stevens's career from 1939 to 1955, the war years and the postwar years. Portraying Stevens as someone whose alternation between cultural comprehension and ignorance was itself characteristically American, Filreis examines the poet's impulse to disguise and compress the very fact of his debt to the actual world. By actual world Stevens meant...
Long unavailable, now in paperback for the first time, these are the brilliant, subtle, illuminating letters of one of the great poets of the twentieth century. Stevens's famous criterion for poetry--"It should give pleasure"--informed his epistolary aesthetic as well; these letters stimulate one's appetite for poetry as they valorize the imagination and the senses. They also offer fascinating glimpses of Stevens as family man, insurance executive, connoisseur, and friend. FROM THE BOOK:"Next to the passion flower I love fuchsias, and no kidding. . . . Down among the Pennsylvania Germans there was a race of young men . . . who carved willow fans. These men would take a bit of willow stick ab...
"A perceptive, insightful biography of perhaps the most important American poet of the twentieth century, Wallace Stevens, by an accomplished biographer and poet who traces Stevens's lifelong artistic quest"--
This volume supplements the acclaimed three volume set published in 1986 and consists of an annotated listing of American Studies monographs published between 1984 and 1988. There are more than 6,000 descriptive entries in a wide range of categories: anthropology and folklore, art and architecture, history, literature, music, political science, popular culture, psychology, religion, science and technology, and sociology.
The Poetry of the Americas provides an expansive history of relations between poets in the US and Latin America over three decades, from the Good Neighbor diplomacy of World War II to 1960s Cold War cultural policy.
Everything in Its Place: The Life and Works of Virgilio Pinera: is a seminal book that fills a major gap in Cuban and Latin American literary criticism. In addition to being the most comprehensive study to date of the life and work of Virgilio Pinera, this is the first book in English on this major twentieth-century Cuban author. In this study Thomas F. Anderson draws extensively on unpublished manuscripts and diverse critical writings, bringing new insights into how Pinera's works responded to key literary influences as well as events in his life and in Cuban political and cultural history.
Cuba’s José Lezama Lima became the most controversial figure in the flowering of the Latin American novel with the 1966 publication of Paradiso. Hailed as a seminal writer of breathtaking originality by Julio Cortázar, Octavio Paz, and Mario Vargas Llosa, Lezama was also attacked by the Castro regime and others for his stylistic obscurity, erotic descriptions, and violation of literary norms. Indeed, his experimental fiction, written on the very boundaries of the novelistic genre, resists classification. José Lezama Lima’s Joyful Vision, a much-needed critical study of Paradiso, Oppiano Licario, and Lezama’s essays, is thus an exploration in reading, one that highlights and preserve...
In Transcultural Joyce, a team of leading international scholars assess the afterlife of James Joyce and his writings within a multinational context. How does Joyce haunt the works of later writers in diverse literary traditions? How well does he translate from one culture and language to another? This book consider Joyce's reincarnations in texts from Latin America, Europe, and South Asia. Transcultural Joyce provides a fresh theoretical examination of conventional notions such as 'influence' and 'translation' and asks how Joyce is imported across particular cultural boundaries. As a canonical modernist and colonial subject, Joyce inhabits a borderline position that complicates his reception and revision by later writers. This book accounts for his cultural place as specifically Irish and more postcolonial than previous studies have acknowledged. Scholars and translators of Joyce also consider the formidable task of translating his work for a global audience.