Pub Date : 2023-01-01DOI: 10.1353/wsj.2023.a910917
Jonathan Ivry
“A Sort of Buoy”: Stevens, Plato, and Benjamin Jowett Jonathan Ivry ON JULY 4, 1900, shortly after moving to New York City to begin his short-lived career as a journalist, the twenty-year-old Wallace Stevens wrote in his journal, “I am going to get a set of [Jowett’s] Plato as soon as I can afford it and use that as a sort of buoy” (L 42). In what is perhaps a telling error, however, the name Jowett was mis-transcribed both in the Letters of Wallace Stevens and Souvenirs and Prophecies as “Lowell’s Plato,” a mistake Milton Bates notes in his Wallace Stevens: A Mythology of Self (44). If the name Jowett was already arcane enough by the 1960s and 1970s to be mis-transcribed, today Benjamin Jowett is likely even less familiar, except, perhaps, insofar as his English translations of Plato are still in publication and in use in college classrooms. In 1900, however, Jowett was more than the name on the English translation of Plato. He was a major figure in Victorian England whose fame rested on three significant, interconnected accomplishments. First, as tutor and then Master of Balliol College at Oxford University, Jowett helped promote a series of reforms that modernized university education. Second, as a liberal theologian, Jowett developed a progressive approach to Scripture and religious dogma, a position that placed him in opposition to members of the Oxford and Anglican Church establishment and that opened him up to charges of atheism. Finally, as the preeminent English translator of Plato, Jowett helped revive interest in Plato in the English-speaking world.1 Jowett’s life (1817–1893) coincided with the great technological and social upheavals that marked the nineteenth century. Though he spent most of his adult life at Oxford, his progressive views on educational reform and on theology brought him into the center of broader debates of the time, including the evolving role of social class in England, the attempt to reconcile science and rational thought with religious faith, and questions about social responsibility, freedom, and ethics. But it was as a theologian that Jowett was most controversial. His essay “On the Interpretation of Scripture,” which appeared in 1860 in the influential edited collection of theological essays Essays and Reviews, argued in favor of reading the Bible “like any other book” (143; Jowett’s emphasis). This meant, according to Peter Hinchliff, that Jowett “differed from the literalists in two particulars. [End Page 195] He did not believe that the text had been directly dictated by God: nor did it always mean what it had been traditionally understood to mean” (75). Jowett wanted a return to the text itself, with a scholar’s eye grounded in an academic appreciation of historical context, philology, and logic. “The first step,” he writes, “is to know the meaning, and this can only be done in the same careful and impartial way that we ascertain the meaning of Sophocles or of Plato.” This approach would attend to the “la
“一种浮标”:史蒂文斯、柏拉图和本杰明·伊夫里1900年7月4日，20岁的华莱士·史蒂文斯搬到纽约市，开始他短暂的记者生涯后不久，他在日记中写道:“我打算一有钱就去买一套(乔维特的)柏拉图，把它当作一种浮标”(第42页)。然而，在《华莱士·史蒂文斯书信集》和《纪念品与预言》中，乔威特这个名字被错误地转录为“洛厄尔的柏拉图”，这可能是一个明显的错误，米尔顿·贝茨在他的《华莱士·史蒂文斯:自我神话》(44)中指出了这个错误。如果乔威特这个名字在20世纪60年代和70年代已经神秘到足以被错误地转录，那么今天本杰明·乔威特可能更不为人所知，除非，也许，他的柏拉图英文译本仍在出版，并在大学课堂上使用。然而，在1900年，乔威特不仅仅是柏拉图英文译本上的名字。他是维多利亚时代英国的重要人物，他的名声建立在三个相互关联的重大成就上。首先，作为牛津大学贝利奥尔学院的导师和院长，乔伊特帮助推动了一系列现代化大学教育的改革。其次，作为一名自由主义神学家，乔威特对圣经和宗教教义采取了一种进步的态度，这一立场使他与牛津和英国国教的成员对立，并使他受到无神论的指控。最后，作为柏拉图杰出的英文译者，乔伊特帮助英语世界重新燃起了对柏拉图的兴趣乔伊特的一生(1817-1893)恰逢19世纪科技和社会的大动荡。虽然他成年后的大部分时间都在牛津大学度过，但他对教育改革和神学的进步观点使他成为当时更广泛辩论的中心，包括英国社会阶级的演变作用，试图将科学和理性思想与宗教信仰相调和，以及有关社会责任、自由和道德的问题。但作为一个神学家，乔威特是最有争议的。1860年，他的论文《论圣经的解释》(On the Interpretation of Scripture)发表在一本颇具影响力的神学论文集《论文集与评论》(essays and Reviews)中，主张“像阅读其他任何一本书一样”阅读圣经(143;乔维特的重点)。根据彼得·欣克利夫(Peter hinchcliffe)的说法，这意味着乔伊特“在两个方面与字面主义者不同”。[End Page 195]他不相信经文是上帝直接口授的:经文的意思也不总是传统意义上的理解。乔伊特希望以学者的眼光，以对历史背景、文献学和逻辑学的学术鉴赏为基础，回归文本本身。“第一步，”他写道，“是了解意义，而这只能以我们确定索福克勒斯(Sophocles)或柏拉图(Plato)的意义的同样谨慎和公正的方式来完成。”这种方法将关注“神圣作者的语言、思想和叙述”，并将抛弃几个世纪以来的宗教教条和解释传统，这些传统已经积累起来，但没有得到文本的支持(“解释”143)。与《随笔与评论》的其他撰稿人一样，乔伊特的方法反映了对科学方法论的欣赏和接受，而不是对它的抵制。例如，现代读者不应该被《圣经》是由不同世纪的不同作者所写这一历史事实所困扰。“不分青红皂白地使用从圣经的一端取出的平行段落，并应用于另一端……是无用和不加批判的，”Jowett写道(147)。科学的发现也不应该威胁到宗教信仰，因为它们可能与圣经中的某些记载相矛盾，尤其是关于创世的故事。“当所有的知识倾向都与基督教相悖时，基督教就处于错误的位置。这种立场不能长期维持，或者只能以受过教育的阶层从宗教的影响中撤出而告终”(140-41)。乔威特的神学立场反映了康德对理性和独立思考的强调，以及对坚持……
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Pub Date : 2023-01-01DOI: 10.1353/wsj.2023.a910914
Lisa Goldfarb
Harmonium through the Years Lisa Goldfarb A FEW MONTHS AGO, around the time when the Wallace Stevens Society decided to organize an American Literature Association panel on the centenary of Stevens’s 1923 publication of Harmonium, I had a dream about the poet. I do not often remember my dreams, but this one remains vivid in my memory. I had recently been reading (and teaching) Susan Howe’s beautiful poem “118 Westerly Terrace,” so perhaps it is not surprising that in my dream I found myself in Stevens’s Hartford home, climbing the stairs to the second floor. The stairs were carpeted, so that my footsteps were hushed, and I tread carefully as I turned the corner into a hallway. I walked tentatively, thinking that if I was quiet enough, I might feel the spirit of the poet in the hall, in the walls, in the air. Suddenly, as I looked into what appeared to be a study, I saw the poet lying still on a couch, eyes closed, with a book in hand. Nearby was a woman—I thought in my dream, “This is Holly”—who held a piece of paper—a manuscript—in her hand. It was clear from the look in her eyes that she ached to share the manuscript. I could make out that it was a poem, and I felt charged with the task to reach her so that I might read the verses scribbled there. Somehow it would be necessary to lift the poet and his daughter down the stairs, to bring them to a more comfortable and fitting place, where I could talk with them. My husband needed to lift both figures to carry them down. As we descended the stairs, I could make out some of the words of the poem, which seemed to be additional verses to, or a companion poem much like, “Waving Adieu, Adieu, Adieu.” I woke up with the first stanza of “Waving Adieu” reverberating in my head: That would be waving and that would be crying,Crying and shouting and meaning farewell,Farewell in the eyes and farewell at the centre,Just to stand still without moving a hand. (CPP 104) What an exquisite way to express the world “without heaven to follow” (CPP 104), I thought, reflecting on my dream, and to feel the present moment, however tinged with sadness, as full and complete in itself. [End Page 148] Readers may wonder why I recount this dream at the start of an essay that focuses on my experience of Harmonium. The dream, after all, culminates in my wished-for discovery of a companion piece to a poem from Ideas of Order. What the dream signifies, however, is the extent of my engagement with Stevens’s poems over a period of fifty years, and that engagement started with the poems of Harmonium. In a personal essay such as this, it would be impossible to trace in detail or to reproduce how I heard and understood particular poems when I first encountered them, as my memory is colored by the direction that my career has taken. Still, I remember the way the poems of Harmonium held my attention, and, in retrospect, I see how, from the start, reading Stevens—particularly Harmonium—taught me how to become a reader and a scholar who,
几个月前，大约在华莱士·史蒂文斯协会(Wallace Stevens Society)决定组织一次美国文学协会(American Literature Association)座谈会，纪念史蒂文斯1923年出版的《Harmonium》一百周年之际，我做了一个关于这位诗人的梦。我不经常记得我的梦，但这一个仍然在我的记忆中生动。我最近一直在阅读(并教授)苏珊·豪(Susan Howe)的美丽诗歌《西风露台118号》(118 west Terrace)，所以，在梦中发现自己在史蒂文斯位于哈特福德的家中，爬上二楼，也许并不奇怪。楼梯上铺着地毯，所以我的脚步声很安静，我小心翼翼地走着，拐了个弯，进入了走廊。我试探性地走着，心想如果我足够安静，也许就能在大厅里、在墙壁上、在空气中感受到诗人的精神。突然，当我向一间似乎是书房的地方望去时，我看到诗人静静地躺在沙发上，闭着眼睛，手里拿着一本书。旁边站着一个女人——我在梦中想，“这是霍莉”——她手里拿着一张纸——一份手稿。从她的眼神中可以清楚地看出，她渴望分享这份手稿。我能看出来那是一首诗，我觉得自己有责任找到她，读她写在上面的诗句。不知怎么的，我有必要把诗人和他的女儿抱下楼梯，把他们带到一个更舒适、更合适的地方，在那里我可以和他们交谈。我丈夫需要把两个人影都抬起来才能把他们抬下去。当我们下楼梯时，我能辨认出这首诗的一些词，这些词似乎是附加的诗句，或者是一首配套的诗，很像“挥手告别，再见，再见”。我醒来时，《挥手再见》的第一节在我的脑海中回荡:那是挥手，那是哭泣，哭着喊着，意味着告别，眼中的告别，心中的告别，只是静静地站着，不动一只手。“没有天堂可去”(CPP 104)这是多么精妙的表达世界的方式啊，我想，回想着我的梦，感觉现在的时刻，无论多么悲伤，都是充实和完整的。读者们可能会奇怪，为什么我要在这篇着重讲述我在Harmonium的经历的文章的开头叙述这个梦。毕竟，这个梦在我所希望的发现《秩序的思想》的一首诗的伴诗中达到了高潮。然而，这个梦所代表的是我在过去50年里对史蒂文斯诗歌的深入了解，而这种了解是从《和谐》的诗歌开始的。在这样一篇个人文章中，不可能详细追溯或重现我第一次听到和理解特定诗歌时的情况，因为我的记忆被我的职业发展方向所影响。尽管如此，我仍然记得Harmonium的诗歌吸引我注意力的方式，回想起来，我看到从一开始，阅读史蒂文斯，尤其是Harmonium，教会了我如何成为一个读者和学者，最重要的是，倾听史蒂文斯的诗歌音乐，并引申到抒情音乐。“现代英美诗歌”是我本科期间唯一一门专注于抒情诗的课程。那是1973年(也许是1974年)，我们读了史蒂文斯的一小部分诗歌选集，从《Harmonium》到《The Rock》。虽然我不记得我们读了哪些诗，但史蒂文斯第一卷中给我印象最深的两首诗是《雪人》和《星期天早晨》。我不想把我现在对这些诗的理解投射到我当时的年轻学生身上，而是尽可能准确地回忆起我当时的反应。《雪人》里说话人的声音让我停了下来。“冬天的心”是什么意思呢?
{"title":"Harmonium through the Years","authors":"Lisa Goldfarb","doi":"10.1353/wsj.2023.a910914","DOIUrl":"https://doi.org/10.1353/wsj.2023.a910914","url":null,"abstract":"Harmonium through the Years Lisa Goldfarb A FEW MONTHS AGO, around the time when the Wallace Stevens Society decided to organize an American Literature Association panel on the centenary of Stevens’s 1923 publication of Harmonium, I had a dream about the poet. I do not often remember my dreams, but this one remains vivid in my memory. I had recently been reading (and teaching) Susan Howe’s beautiful poem “118 Westerly Terrace,” so perhaps it is not surprising that in my dream I found myself in Stevens’s Hartford home, climbing the stairs to the second floor. The stairs were carpeted, so that my footsteps were hushed, and I tread carefully as I turned the corner into a hallway. I walked tentatively, thinking that if I was quiet enough, I might feel the spirit of the poet in the hall, in the walls, in the air. Suddenly, as I looked into what appeared to be a study, I saw the poet lying still on a couch, eyes closed, with a book in hand. Nearby was a woman—I thought in my dream, “This is Holly”—who held a piece of paper—a manuscript—in her hand. It was clear from the look in her eyes that she ached to share the manuscript. I could make out that it was a poem, and I felt charged with the task to reach her so that I might read the verses scribbled there. Somehow it would be necessary to lift the poet and his daughter down the stairs, to bring them to a more comfortable and fitting place, where I could talk with them. My husband needed to lift both figures to carry them down. As we descended the stairs, I could make out some of the words of the poem, which seemed to be additional verses to, or a companion poem much like, “Waving Adieu, Adieu, Adieu.” I woke up with the first stanza of “Waving Adieu” reverberating in my head: That would be waving and that would be crying,Crying and shouting and meaning farewell,Farewell in the eyes and farewell at the centre,Just to stand still without moving a hand. (CPP 104) What an exquisite way to express the world “without heaven to follow” (CPP 104), I thought, reflecting on my dream, and to feel the present moment, however tinged with sadness, as full and complete in itself. [End Page 148] Readers may wonder why I recount this dream at the start of an essay that focuses on my experience of Harmonium. The dream, after all, culminates in my wished-for discovery of a companion piece to a poem from Ideas of Order. What the dream signifies, however, is the extent of my engagement with Stevens’s poems over a period of fifty years, and that engagement started with the poems of Harmonium. In a personal essay such as this, it would be impossible to trace in detail or to reproduce how I heard and understood particular poems when I first encountered them, as my memory is colored by the direction that my career has taken. Still, I remember the way the poems of Harmonium held my attention, and, in retrospect, I see how, from the start, reading Stevens—particularly Harmonium—taught me how to become a reader and a scholar who, ","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135506990","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}
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> News and Comments <!-- /html_title --></li> <li> Bart Eeckhout and Glen MacLeod </li> </ul> <p>The tenth John N. Serio Award for the Best Article Published in <em>The Wallace Stevens Journal</em> was awarded to Patrick Redding for his contribution entitled “How Stevens Read His Emerson: Marginalia and the Spirit of the Age” (Spring 2020). The award was judged by a committee of three: two Editorial Board Members (Gül Bilge Han and Krzysztof Ziarek) and the Secretary of the Wallace Stevens Society, Florian Gargaillo. It was officially presented at the 2022 MLA Convention in Washington, DC. Please join us in congratulating the author.</p> <p>***</p> <p>Millicent Borges Accardi’s poem “Let’s Very Often Say,” published in the Spring 2022 issue of this <em>Journal</em>, was selected by the Hopkins Press as one of ten “poignant” poems for the 2022 edition of National Poetry Month, an annual celebration established in 1996 by the Academy of American Poets.</p> <p>***</p> <p>The 2021 Wallace Stevens Award of the Academy of American Poets, a $100,000 lifetime achievement award “for outstanding and proven mastery in the art of poetry,” went to Toi Derricotte.</p> <p>***</p> <p>“Thirteen Ways of Looking at Blackboard,” a parody poem written by the junior music major Kayla Bivin at Northern Illinois University, was selected and published by McSweeney Internet Tendency, a website with a social media presence of about 200,000 followers on Facebook, 275,000 on Twitter, and more than 57,000 on Instagram. From the thirteen possible citations, we have selected two stanzas as examples from the poem: “O professors of University, / Why do you imagine class on Zoom? / Do you not see how Blackboard / Has a course room / Awaiting us?” And the final meditation: “She was working all afternoon. / She was studying / <strong>[End Page 266]</strong> And she was going to study. / Blackboard lingered open / On her desktop.”</p> <p>***</p> <p>In the spring of 2022, the artist Michelle Cotugno and the poet Jim Finnegan teamed up to organize an exhibition at the Hartford Public Library entitled “Words in Clay, Words on Paper.” It brought together objects in clay, made by Cotugno and including reprinted words of important poets and writers, with accompanying broadsides from a range of New England letterpress printers selected by Finnegan. The artistic collaboration further involved an artist talk and printer panel as well as a poetry reading. Three of Stevens’s poems were included among the broadsides; one other broadside referenced the poet.</p> <p>***</p> <p>Julien Strong and Luisa Caycedo-Kimura were the featured poets at the 2022 Rose Garden Reading, which was held, exceptionally, not at Elizabeth Park but at the nearby St. John’s Episcopal Church in West Hartford, Connecticut. This year the reading took place on June 18. The event was sponsored by the Frien
代替摘要，这里是内容的简短摘录:新闻和评论巴特·埃克豪特和格伦·麦克劳德第十届约翰·n·塞里奥奖发表在华莱士·史蒂文斯杂志上的最佳文章被授予帕特里克·雷丁，他的贡献题为“史蒂文斯如何阅读他的爱默生:旁注和时代精神”(2020年春季)。该奖项由三人组成的委员会评判:两位编辑委员会成员(g Bilge Han和Krzysztof Ziarek)和华莱士史蒂文斯协会秘书Florian Gargaillo。它是在华盛顿特区举行的2022年MLA大会上正式提出的。请和我们一起祝贺作者。***米利森特·博尔赫斯·阿卡迪的诗“让我们经常说”，发表在本刊2022年春季号上，被霍普金斯出版社选为2022年版国家诗歌月的十首“尖锐”诗歌之一，国家诗歌月是1996年由美国诗人学会设立的年度庆祝活动。*** Toi Derricotte获得了2021年美国诗人学会华莱士·史蒂文斯奖(Wallace Stevens Award)，这是一项价值10万美元的终身成就奖，“表彰她在诗歌艺术方面的杰出成就”。***北伊利诺伊大学音乐专业大三学生凯拉·比文(Kayla Bivin)创作的恶搞诗《13种看黑板的方式》(13 Ways of Looking at Blackboard)被McSweeney Internet Tendency网站选中并发表。该网站在Facebook上有20万名粉丝，在Twitter上有27.5万名粉丝，在Instagram上有5.7万多名粉丝。从13个可能的引用中，我们从这首诗中选择了两个节作为例子:“哦，大学教授，/你为什么想象在Zoom上上课?”/你没看到黑板/教室/在等着我们吗?”最后的沉思是:“她整个下午都在工作。/她在学习/她要去学习。/黑板在她的桌面上迟迟没有打开。2022年春天，艺术家米歇尔·科图尼奥(Michelle Cotugno)和诗人吉姆·芬尼根(Jim Finnegan)联手在哈特福德公共图书馆组织了一场名为“粘土上的文字，纸上的文字”的展览。它汇集了由Cotugno制作的粘土制品，包括重印的重要诗人和作家的文字，以及芬尼根选择的一系列新英格兰凸版印刷机的插图。这次艺术合作还包括艺术家讲座、印刷面板以及诗歌朗诵。史蒂文斯的三首诗被收录在海报中;另一个侧面提到了这位诗人。***朱利安·斯特朗(Julien Strong)和路易莎·卡塞多·木村(Luisa Caycedo-Kimura)是2022年玫瑰花园朗读会上的主要诗人，这次朗读特别地不在伊丽莎白公园举行，而是在康涅狄格州西哈特福德附近的圣约翰圣公会教堂举行。今年的读书会在6月18日举行。这次活动是由华莱士·史蒂文斯的朋友和敌人赞助的。朱利安·斯特朗(Julien Strong)是两本诗集和两本小说的作者，在中央康涅狄格州立大学任教。路易莎·卡塞多·木村是哥伦比亚出生的作家、翻译家和教育家，她是《康涅狄格河评论》的编辑，也是康涅狄格诗歌协会的董事会成员。***康涅狄格大学(University of Connecticut)第57届华莱士·史蒂文斯(Wallace Stevens)年度诗歌项目(从去年推迟)邀请了d·a·鲍威尔(D. a . Powell)，他写了三本关于艾滋病的诗集，常被当作三部曲来读。鲍威尔先生是美国国家图书评论圈奖的获奖者，并因其后期的两本诗集入围决赛，他还是旧金山大学的教授。2022年3月31日，他通过Zoom朗读了自己的诗歌。这个一年一度的活动是由《哈特福德报》赞助的，以纪念史蒂文斯作为前公司高管。它还得到了康涅狄格大学彩虹中心、人文学院、创意写作项目和英语系演讲者基金的额外支持。遗憾的是，我们听说哈特福德计划在未来停止对这一年度活动的支持。因此，该计划的未来充满疑问。***由英国杂志《the Spectactor》组织的第3238届诗歌比赛邀请了以文学纷争为主题的诗歌。斯蒂文斯1936年与欧内斯特·海明威在基韦斯特大打出手的故事是最受欢迎的典故之一。其中一位竞争者巴兹尔·兰瑟姆-戴维斯的四行诗阐释了这种……
{"title":"News and Comments","authors":"Bart Eeckhout, Glen MacLeod","doi":"10.1353/wsj.2022.0027","DOIUrl":"https://doi.org/10.1353/wsj.2022.0027","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 --> News and Comments <!-- /html_title --></li> <li> Bart Eeckhout and Glen MacLeod </li> </ul> <p>The tenth John N. Serio Award for the Best Article Published in <em>The Wallace Stevens Journal</em> was awarded to Patrick Redding for his contribution entitled “How Stevens Read His Emerson: Marginalia and the Spirit of the Age” (Spring 2020). The award was judged by a committee of three: two Editorial Board Members (Gül Bilge Han and Krzysztof Ziarek) and the Secretary of the Wallace Stevens Society, Florian Gargaillo. It was officially presented at the 2022 MLA Convention in Washington, DC. Please join us in congratulating the author.</p> <p>***</p> <p>Millicent Borges Accardi’s poem “Let’s Very Often Say,” published in the Spring 2022 issue of this <em>Journal</em>, was selected by the Hopkins Press as one of ten “poignant” poems for the 2022 edition of National Poetry Month, an annual celebration established in 1996 by the Academy of American Poets.</p> <p>***</p> <p>The 2021 Wallace Stevens Award of the Academy of American Poets, a $100,000 lifetime achievement award “for outstanding and proven mastery in the art of poetry,” went to Toi Derricotte.</p> <p>***</p> <p>“Thirteen Ways of Looking at Blackboard,” a parody poem written by the junior music major Kayla Bivin at Northern Illinois University, was selected and published by McSweeney Internet Tendency, a website with a social media presence of about 200,000 followers on Facebook, 275,000 on Twitter, and more than 57,000 on Instagram. From the thirteen possible citations, we have selected two stanzas as examples from the poem: “O professors of University, / Why do you imagine class on Zoom? / Do you not see how Blackboard / Has a course room / Awaiting us?” And the final meditation: “She was working all afternoon. / She was studying / <strong>[End Page 266]</strong> And she was going to study. / Blackboard lingered open / On her desktop.”</p> <p>***</p> <p>In the spring of 2022, the artist Michelle Cotugno and the poet Jim Finnegan teamed up to organize an exhibition at the Hartford Public Library entitled “Words in Clay, Words on Paper.” It brought together objects in clay, made by Cotugno and including reprinted words of important poets and writers, with accompanying broadsides from a range of New England letterpress printers selected by Finnegan. The artistic collaboration further involved an artist talk and printer panel as well as a poetry reading. Three of Stevens’s poems were included among the broadsides; one other broadside referenced the poet.</p> <p>***</p> <p>Julien Strong and Luisa Caycedo-Kimura were the featured poets at the 2022 Rose Garden Reading, which was held, exceptionally, not at Elizabeth Park but at the nearby St. John’s Episcopal Church in West Hartford, Connecticut. This year the reading took place on June 18. The event was sponsored by the Frien","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"1 8","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138504313","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":"Window-Gazing and World-Making in Stevens and Robert Creeley","authors":"Thomas Gould","doi":"10.1353/wsj.2022.0023","DOIUrl":"https://doi.org/10.1353/wsj.2022.0023","url":null,"abstract":"","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"46 1","pages":"191 - 203"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43090547","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":"“The World in a Verse”: Stevens, World History, and Global Modernisms","authors":"Gül Bilge Han","doi":"10.1353/wsj.2022.0020","DOIUrl":"https://doi.org/10.1353/wsj.2022.0020","url":null,"abstract":"","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"46 1","pages":"133 - 148"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41623278","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":"Roaming through World Literature: Shelley’s Wind, Stevens’s Blackbird, Coetzee’s Hugo Claus, and the Desire for Poetic Transformation","authors":"B. Eeckhout","doi":"10.1353/wsj.2022.0025","DOIUrl":"https://doi.org/10.1353/wsj.2022.0025","url":null,"abstract":"","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"46 1","pages":"215 - 234"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44596962","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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