Pub Date : 2024-03-13DOI: 10.1353/wsj.2024.a922175
Jacque Vaught Brogan
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> For The Moment, at Least <!-- /html_title --></li> <li> Jacque Vaught Brogan </li> </ul> <p>Notre Dame</p> <p>October 12–13, 2023</p> <p><span>The Poem is mad. In fact, it almost refused to meet</span><span>This year. But it showed up today, saying,</span><span> "I don't want to talk about it.</span><span>Any of it. At all. Even if it is true</span><span>That your 'unprecedented' wildfires have 'reversed</span><span>Seven years' progress in cleaning our air,'</span><span> "it is just too easy</span><span>To recall the odd orange haze that, all of June,</span><span>Sullied the sky and dimmed the sun. Even if it is true</span><span>That 'dangerous particulates' stretched all the way</span><span>From Canada past Florida, it is just too simple</span><span>To underscore how the sumacs have suffered the effect—</span><span>How they are 'hung with dried leaves, /</span><span>Clinging to broken branches like dead moths.'</span><span>(Your words, dear friend, not mine.)"</span></p> <p><span>The Poem is, frankly, being pissy. "And," it continues</span><span>To complain, "even if the extensive drought and heat</span><span>Through summer's end blighted the corn and wheat</span><span>Of the entire Midwest, it is too facile, by far, to turn</span><span>To the trees and say, 'The oak leaves droop</span><span>like dirty gloves' or that 'Patches in the maples</span><span>are missing, / Having turned a crackled brown /</span><span>Before dropping far too early, / Already</span><span>mere leaf-trash on the ground.'"</span></p> <p><span> It refuses to talk about it—</span><span>All the suffocating earthquakes and floods elsewhere—</span><span>And cringes when it cries that it didn't want to hear</span><span>About the babies and beheadings or that now</span><span>There is "No safe place left in Gaza."</span></p> <p><span>"It takes courage," the Poem insists,</span><span>"—or can we still say, 'real <em>chutzpah'</em>?—to report that last month</span><span>'The Banyan Tree on Maui,' though seemingly burned</span><span>Beyond hope, was 'showing sprouts on its lower limbs,'</span><span>And that just this past week, the Banyan is re-leafing,</span><span>Against all odds, 'even in its upper canopy.' <strong>[End Page 107]</strong></span></p> <p><span> "SO?—WHAT OF THIS?," the Poem demands.</span><span>"What OF it? Dare you admit (much less describe)</span><span>How today, at this rendezvous by the lakes, we see poplars</span><span>And Northern Ash still fanning full green leaves—</span><span>Waving them in quiet applause to this changing season?</span><span>Or that here and there random leaves, having reached</span><span>Their longed-for color, let go, make clicking sounds</span><span>At first, among the blowing upper branches,</span><span>Then drift, side to side, riding the soft breeze</span><span>Through light and shadowed limbs, before landing—</s
{"title":"For The Moment, at Least","authors":"Jacque Vaught Brogan","doi":"10.1353/wsj.2024.a922175","DOIUrl":"https://doi.org/10.1353/wsj.2024.a922175","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> For The Moment, at Least <!-- /html_title --></li> <li> Jacque Vaught Brogan </li> </ul> <p>Notre Dame</p> <p>October 12–13, 2023</p> <p><span>The Poem is mad. In fact, it almost refused to meet</span><span>This year. But it showed up today, saying,</span><span> \"I don't want to talk about it.</span><span>Any of it. At all. Even if it is true</span><span>That your 'unprecedented' wildfires have 'reversed</span><span>Seven years' progress in cleaning our air,'</span><span> \"it is just too easy</span><span>To recall the odd orange haze that, all of June,</span><span>Sullied the sky and dimmed the sun. Even if it is true</span><span>That 'dangerous particulates' stretched all the way</span><span>From Canada past Florida, it is just too simple</span><span>To underscore how the sumacs have suffered the effect—</span><span>How they are 'hung with dried leaves, /</span><span>Clinging to broken branches like dead moths.'</span><span>(Your words, dear friend, not mine.)\"</span></p> <p><span>The Poem is, frankly, being pissy. \"And,\" it continues</span><span>To complain, \"even if the extensive drought and heat</span><span>Through summer's end blighted the corn and wheat</span><span>Of the entire Midwest, it is too facile, by far, to turn</span><span>To the trees and say, 'The oak leaves droop</span><span>like dirty gloves' or that 'Patches in the maples</span><span>are missing, / Having turned a crackled brown /</span><span>Before dropping far too early, / Already</span><span>mere leaf-trash on the ground.'\"</span></p> <p><span> It refuses to talk about it—</span><span>All the suffocating earthquakes and floods elsewhere—</span><span>And cringes when it cries that it didn't want to hear</span><span>About the babies and beheadings or that now</span><span>There is \"No safe place left in Gaza.\"</span></p> <p><span>\"It takes courage,\" the Poem insists,</span><span>\"—or can we still say, 'real <em>chutzpah'</em>?—to report that last month</span><span>'The Banyan Tree on Maui,' though seemingly burned</span><span>Beyond hope, was 'showing sprouts on its lower limbs,'</span><span>And that just this past week, the Banyan is re-leafing,</span><span>Against all odds, 'even in its upper canopy.' <strong>[End Page 107]</strong></span></p> <p><span> \"SO?—WHAT OF THIS?,\" the Poem demands.</span><span>\"What OF it? Dare you admit (much less describe)</span><span>How today, at this rendezvous by the lakes, we see poplars</span><span>And Northern Ash still fanning full green leaves—</span><span>Waving them in quiet applause to this changing season?</span><span>Or that here and there random leaves, having reached</span><span>Their longed-for color, let go, make clicking sounds</span><span>At first, among the blowing upper branches,</span><span>Then drift, side to side, riding the soft breeze</span><span>Through light and shadowed limbs, before landing—</s","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140150108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-13DOI: 10.1353/wsj.2024.a922176
Daniel Schwartz
In lieu of an abstract, here is a brief excerpt of the content:
Third Study in Blue
Daniel Schwartz
The blue freak rides in his blue train for days, zippingunzipping, he howls at how the freakish earthkeeps warm, thinking the landis a staircase, and through its balustrade, the towns appearlike shy children threading themselves, thingsthe blue trees remember. He goes from purple Mainewhere rocks grow in blue soil, and turquoise is the deepabstraction of lobster, where a shroud of black quartzis the painless face of midnight, and daylight is animalstillness, the unsubduable watchedness like the bluefreak himself. Embalmed blueof the osprey, and the shore is a necklaceburied in the ocean's skin. He wonders how othersevade his freakish fate, seeing inside windowswhere the blue wolf twists himself into rope, and blue fatherknots his home, a living shapebereft of living geometry. Blue freak will notwrest a voice from that blue howling, will not livein that muscling cordage. The train unseamspurple, an abducted blue of translucence, andblue mistress awaits. [End Page 110]
Pub Date : 2024-03-13DOI: 10.1353/wsj.2024.a922174
Karen Petersen
In lieu of an abstract, here is a brief excerpt of the content:
The Snake in the Grass
Karen Petersen
First there was the delicate snakeskin,like tissue paper, a foot long and ghostly white.Touch it and it crumbles, a tokenof a potential deadly resurrection,fittingly done in moonlight,a warning sign of things to come.
A sudden revelation in the morning's grassthe snakeskin betrays the snake,quiet, private, impossible to detect,this hidden cold-blooded arrow of deathtakes its victim's last breath, a gaspin the terrible silence.
And just before the sacrament of the strikebeneath the now unbalanced clouds,one hears "the whole desolate, final reality"of a hiss beneath the shroud.Then quickly, quickly the venom worksand the world, ineffable, spins right again. [End Page 106]
Altieri, Charles. Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values. U of New Mexico P, 2021. Eeckhout, Bart, and Lisa Goldfarb. The Poetic Music of Wallace Stevens. Palgrave Macmillan, 2022. Huang, Yunte. Chinese Whispers: Toward a Transpacific Poetics. U of Chicago P, 2022. Koethe, John. Thought and Poetry: Essays on Romanticism, Subjectivity, and Truth. Bloomsbury, 2022. Tan, Ian. Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity. Palgrave Macmillan, 2022.
{"title":"Current Bibliography","authors":"Bart Eeckhout, Lisa Goldfarb","doi":"10.1353/wsj.2023.0017","DOIUrl":"https://doi.org/10.1353/wsj.2023.0017","url":null,"abstract":"Altieri, Charles. Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values. U of New Mexico P, 2021. Eeckhout, Bart, and Lisa Goldfarb. The Poetic Music of Wallace Stevens. Palgrave Macmillan, 2022. Huang, Yunte. Chinese Whispers: Toward a Transpacific Poetics. U of Chicago P, 2022. Koethe, John. Thought and Poetry: Essays on Romanticism, Subjectivity, and Truth. Bloomsbury, 2022. Tan, Ian. Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity. Palgrave Macmillan, 2022.","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"47 1","pages":"128 - 130"},"PeriodicalIF":0.1,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42338434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Goldfarb engage these problems from an original direction via a provocative comment from Stevens: “Personally, I like words to sound wrong” (L 340). Stevens’s preference is observed in lines that are simultaneously stunning and challenging to pronounce, such as the conclusion of the opening stanza of “The Plain Sense of Things”: “Inanimate in an inert savoir” (CPP 428). Eeckhout and Goldfarb subtly reveal the sonic complexity of that line and present it as characteristic of “a poet who actively foregoes the satisfaction of harmonic arrival” (72). The co-authors cite Theodor Adorno’s essay “Music, Language, and Composition” as a guide to their approach to Stevens. Music and language, Adorno writes, both entail “a temporal succession of articulated sounds that are more than just sound” (qtd. on 3), which is to say, sounds organized in non-arbitrary, expressive ways. “Applying such principles to our readings of Stevens’s poems,” Eeckhout and Goldfarb write, “helps to accentuate the musicality intrinsic to them” (4). The term “musicality” is helpful here. It indicates an aesthetic property which music models but of which music is not the only example. Maybe, if we follow Eeckhout and Goldfarb’s investigations, and experiment with the uses of terms like melody for literary criticism, we can begin to describe “poetic music” as the particular kind of music it is.
戈德法布通过史蒂文斯的一句挑衅性评论，从一个原创的方向着手解决这些问题:“就我个人而言，我喜欢单词听起来是错误的”(L 340)。史蒂文斯的偏好体现在那些既令人震惊又难以发音的诗句中，比如《事物的浅显感觉》(the Plain Sense of Things)开篇的结语:“在一种惰性的savoir中无生命”(CPP 428)。Eeckhout和Goldfarb巧妙地揭示了这句诗的声音复杂性，并将其呈现为“一个主动放弃和声到达满足感的诗人”的特征(72)。合著者引用了西奥多·阿多诺的文章《音乐、语言和作曲》作为他们研究史蒂文斯的指南。阿多诺写道，音乐和语言都需要“一种不只是声音的清晰声音的时间序列”。3)，也就是说，以非任意的、表达的方式组织起来的声音。埃克豪特和戈德法布写道:“将这些原则应用到我们对史蒂文斯诗歌的阅读中，有助于强调这些诗歌内在的音乐性。”在这里，“音乐性”一词很有帮助。它表明了一种审美属性，音乐是它的模型，但音乐并不是唯一的例子。也许，如果我们遵循埃克豪特和戈德法布的研究，并尝试使用像旋律这样的术语来进行文学批评，我们就可以开始将“诗意音乐”描述为一种特殊的音乐。
{"title":"Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity by Ian Tan (review)","authors":"Krzysztof Ziarek","doi":"10.1353/wsj.2023.0014","DOIUrl":"https://doi.org/10.1353/wsj.2023.0014","url":null,"abstract":"Goldfarb engage these problems from an original direction via a provocative comment from Stevens: “Personally, I like words to sound wrong” (L 340). Stevens’s preference is observed in lines that are simultaneously stunning and challenging to pronounce, such as the conclusion of the opening stanza of “The Plain Sense of Things”: “Inanimate in an inert savoir” (CPP 428). Eeckhout and Goldfarb subtly reveal the sonic complexity of that line and present it as characteristic of “a poet who actively foregoes the satisfaction of harmonic arrival” (72). The co-authors cite Theodor Adorno’s essay “Music, Language, and Composition” as a guide to their approach to Stevens. Music and language, Adorno writes, both entail “a temporal succession of articulated sounds that are more than just sound” (qtd. on 3), which is to say, sounds organized in non-arbitrary, expressive ways. “Applying such principles to our readings of Stevens’s poems,” Eeckhout and Goldfarb write, “helps to accentuate the musicality intrinsic to them” (4). The term “musicality” is helpful here. It indicates an aesthetic property which music models but of which music is not the only example. Maybe, if we follow Eeckhout and Goldfarb’s investigations, and experiment with the uses of terms like melody for literary criticism, we can begin to describe “poetic music” as the particular kind of music it is.","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"47 1","pages":"117 - 121"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42248760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An Invitation to the Idea of Wallace Stevens","authors":"Brendan Yates","doi":"10.1353/wsj.2023.0006","DOIUrl":"https://doi.org/10.1353/wsj.2023.0006","url":null,"abstract":"","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"47 1","pages":"103 - 104"},"PeriodicalIF":0.1,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42579600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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