This article closely reads John Berryman’s song 14 of The Dream Songs, and argues that confessional poetry is steeped in mother-son drama, although not what critics and readers have traditionally thought of as strictly oedipal. this article applies Jessica Benjamin’s model of intersubjectivity to explore the poet’s identification with and differentiation from the mother figure; furthermore, it borrows from adam Phillips and D. W. Winnicott to discuss how ideas about motherhood play into Berryman’s poetic self-fashioning. in song 14, Berryman asserts the poet’s need to banter with the mother and so discover the writing self as paradoxically reactionary and autonomous. By looking at one aspect of confessional poetry, the writer’s fundamental relationship to his mother, this article argues for a rethinking of the seemingly masculine poetics of John Berryman. it discusses the ways in which not only Berryman but robert lowell as well collaborate with their mothers, represent motherhood as transcending gender and biology, and suggest that mothers and ideas about mothers play into poetic self-fashioning. this article contributes to an understanding of confessional writing as self-exploratory, uncertain of its own status, and mediated by analysts, parents, and texts, rather than as titillating self-disclosure.
{"title":"“Some / would like you to make room, / mother . . .”: On Mothers and sons in John Berryman’s The Dream Songs","authors":"H. Saltmarsh","doi":"10.1353/PCP.2016.0009","DOIUrl":"https://doi.org/10.1353/PCP.2016.0009","url":null,"abstract":"This article closely reads John Berryman’s song 14 of The Dream Songs, and argues that confessional poetry is steeped in mother-son drama, although not what critics and readers have traditionally thought of as strictly oedipal. this article applies Jessica Benjamin’s model of intersubjectivity to explore the poet’s identification with and differentiation from the mother figure; furthermore, it borrows from adam Phillips and D. W. Winnicott to discuss how ideas about motherhood play into Berryman’s poetic self-fashioning. in song 14, Berryman asserts the poet’s need to banter with the mother and so discover the writing self as paradoxically reactionary and autonomous. By looking at one aspect of confessional poetry, the writer’s fundamental relationship to his mother, this article argues for a rethinking of the seemingly masculine poetics of John Berryman. it discusses the ways in which not only Berryman but robert lowell as well collaborate with their mothers, represent motherhood as transcending gender and biology, and suggest that mothers and ideas about mothers play into poetic self-fashioning. this article contributes to an understanding of confessional writing as self-exploratory, uncertain of its own status, and mediated by analysts, parents, and texts, rather than as titillating self-disclosure.","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"22 - 4"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/PCP.2016.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66526001","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":"Memorializing Animals during the Romantic Period by Chase Pielak (review)","authors":"Janelle A. Schwartz","doi":"10.1353/PCP.2016.0004","DOIUrl":"https://doi.org/10.1353/PCP.2016.0004","url":null,"abstract":"","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"202 1","pages":"126 - 129"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/PCP.2016.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66525914","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}
The major published diaries of Virginia Woolf come in neatly sequenced books: first the five authoritative volumes scrupulously transcribed and edited by Anne Olivier Bell and, after the first volume, also by Andrew McNeillie, published in the 1970s and ’80s and covering the period of 1915 to Woolf ’s death in 1941; and then The Passionate Apprentice (1990), edited by Mitchell A. Leaska, which contains Woolf ’s early journals from 1897 to 1909. The division this has set up between Woolf ’s “early” (pre-1915) and “mature” (1915 and after) diaries, and the separations between diary years in each of the first five volumes published, map well onto Woolf ’s life and professional career, and have inevitably and understandably come to guide readers’ mental conception of Woolf ’s development. The early diaries show Woolf prior to her becoming a published novelist; 1915 marks the year of publication for her first novel, The Voyage Out, and also fittingly marks the year in which Woolf ’s diary entries resume after a mysterious five-year diary blank. Becoming Virginia Woolf, however, questions these facile divisions. Barbara Lounsberry uses her own categorization system: Woolf ’s early diaries from 1897 to mid-1918, where Woolf tested the waters and Reviews
{"title":"Becoming Virginia Woolf: Her Early Diaries and the Diaries She Read by Barbara Lounsberry (review)","authors":"E. Chan","doi":"10.1353/PCP.2016.0005","DOIUrl":"https://doi.org/10.1353/PCP.2016.0005","url":null,"abstract":"The major published diaries of Virginia Woolf come in neatly sequenced books: first the five authoritative volumes scrupulously transcribed and edited by Anne Olivier Bell and, after the first volume, also by Andrew McNeillie, published in the 1970s and ’80s and covering the period of 1915 to Woolf ’s death in 1941; and then The Passionate Apprentice (1990), edited by Mitchell A. Leaska, which contains Woolf ’s early journals from 1897 to 1909. The division this has set up between Woolf ’s “early” (pre-1915) and “mature” (1915 and after) diaries, and the separations between diary years in each of the first five volumes published, map well onto Woolf ’s life and professional career, and have inevitably and understandably come to guide readers’ mental conception of Woolf ’s development. The early diaries show Woolf prior to her becoming a published novelist; 1915 marks the year of publication for her first novel, The Voyage Out, and also fittingly marks the year in which Woolf ’s diary entries resume after a mysterious five-year diary blank. Becoming Virginia Woolf, however, questions these facile divisions. Barbara Lounsberry uses her own categorization system: Woolf ’s early diaries from 1897 to mid-1918, where Woolf tested the waters and Reviews","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"107 - 110"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/PCP.2016.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66525948","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}
as Pielak persuasively argues, is ultimately an act of strategic ventriloquism: “It is no accident that the animal appears at the end of the human even while masquerading as the voice of life” (133). Admittedly, there are moments of disappointing repetition throughout the book; some portions of chapters read more like annotated inventories of literary works than a cohesive, progressive argument; one wonders about the noticeable absence of an application of Levinasian ethics to this project’s theoretical underpinnings; and the reader is left to consider how Pielak’s argument would play out in less canonical, less male-authored works of Romanticism. But the stunning and elegant readings of, for example, Clare’s “On Seeing a Lost Greyhound in Winter,” Byron’s “Inscription on the Monument of a Newfoundland Dog,” and Wordsworth’s “Fidelity” more than make up for any such quibbles. This book is a welcome addition to research collections focused on animal studies, Romanticism, philosophy of mind, and even posthuman studies. Pielak ultimately presents his readers with a telling fable of how we must continue to engage the animal body as a text against and through which to read ourselves—to return to and remember our humanity.
{"title":"Primary Stein: Returning to the Writing of Gertrude Stein ed. by Janet Boyd and Sharon J. Kirsch (review)","authors":"D. Watson","doi":"10.1353/PCP.2016.0007","DOIUrl":"https://doi.org/10.1353/PCP.2016.0007","url":null,"abstract":"as Pielak persuasively argues, is ultimately an act of strategic ventriloquism: “It is no accident that the animal appears at the end of the human even while masquerading as the voice of life” (133). Admittedly, there are moments of disappointing repetition throughout the book; some portions of chapters read more like annotated inventories of literary works than a cohesive, progressive argument; one wonders about the noticeable absence of an application of Levinasian ethics to this project’s theoretical underpinnings; and the reader is left to consider how Pielak’s argument would play out in less canonical, less male-authored works of Romanticism. But the stunning and elegant readings of, for example, Clare’s “On Seeing a Lost Greyhound in Winter,” Byron’s “Inscription on the Monument of a Newfoundland Dog,” and Wordsworth’s “Fidelity” more than make up for any such quibbles. This book is a welcome addition to research collections focused on animal studies, Romanticism, philosophy of mind, and even posthuman studies. Pielak ultimately presents his readers with a telling fable of how we must continue to engage the animal body as a text against and through which to read ourselves—to return to and remember our humanity.","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"129 - 134"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66525959","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}
JULIET TE HARRISSON is Senior Lecturer in Ancient History at Newman University, UK. She specializes in myth and religion in the ancient world, and the reception of ancient Greece and Rome in modern popular culture, especially film and television. She has published chapters on gladiatorial combat in Star Trek and The Hunger Games, on character and relationships in the BBC/ HBO series on Rome, and on Latin in popular culture. Her book, Dreams and Dreaming in the Roman Empire, was published in 2013.
{"title":"Poetic Sisters: Early Eighteenth-Century Women Poets by Deborah Kennedy (review)","authors":"Kelly J. Hunnings","doi":"10.1353/pcp.2016.0012","DOIUrl":"https://doi.org/10.1353/pcp.2016.0012","url":null,"abstract":"JULIET TE HARRISSON is Senior Lecturer in Ancient History at Newman University, UK. She specializes in myth and religion in the ancient world, and the reception of ancient Greece and Rome in modern popular culture, especially film and television. She has published chapters on gladiatorial combat in Star Trek and The Hunger Games, on character and relationships in the BBC/ HBO series on Rome, and on Latin in popular culture. Her book, Dreams and Dreaming in the Roman Empire, was published in 2013.","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"116 - 119"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/pcp.2016.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66526025","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}
This article discusses how Spanish filmmaker Icíar Bollaín and Asian American poet Cathy Song relate to the art of photography in strikingly similar ways. Both artists show a keen interest in photographs as cultural and as social artifacts. Numerous aspects of photography, both as a material product and as a cultural statement, will be considered, as this article proposes that a storytelling urge becomes summoned every time one chooses to take, pose for, and look at a photograph. In other words, the photographer, the poser, and the spectator cannot escape the desire to construct a story around photography. Both Bollaín’s Flores de otro mundo and Song’s Picture Bride show us how every photographic object begets a story that configures a community in the present or to come.
这篇文章讨论了西班牙电影制作人Icíar Bollaín和亚裔美国诗人宋凯茜是如何以惊人相似的方式与摄影艺术联系在一起的。两位艺术家都对作为文化和社会产物的照片表现出浓厚的兴趣。摄影的许多方面，无论是作为一种物质产品还是作为一种文化声明，都将被考虑，因为这篇文章提出，每当一个人选择拍照、摆姿势和看照片时，一种讲故事的冲动就会被召唤出来。换句话说，摄影师、装腔作势者和观众都无法逃脱围绕摄影构建故事的欲望。Bollaín的Flores de otro mundo和Song的Picture Bride都向我们展示了每一个摄影对象如何产生一个故事，这个故事在现在或将来配置了一个社区。
{"title":"Bollaín’s Flores de Otro Mundo via Cathy Song’s Picture Bride: Photographic and Poetic Images Recreate the Art of Forming and Experiencing Community","authors":"Eunha Choi","doi":"10.1353/PCP.2016.0013","DOIUrl":"https://doi.org/10.1353/PCP.2016.0013","url":null,"abstract":"This article discusses how Spanish filmmaker Icíar Bollaín and Asian American poet Cathy Song relate to the art of photography in strikingly similar ways. Both artists show a keen interest in photographs as cultural and as social artifacts. Numerous aspects of photography, both as a material product and as a cultural statement, will be considered, as this article proposes that a storytelling urge becomes summoned every time one chooses to take, pose for, and look at a photograph. In other words, the photographer, the poser, and the spectator cannot escape the desire to construct a story around photography. Both Bollaín’s Flores de otro mundo and Song’s Picture Bride show us how every photographic object begets a story that configures a community in the present or to come.","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"42 - 65"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/PCP.2016.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66525563","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}
interpretations of individual poems fresh, provocative, and nuanced. The concluding chapter, for example, argues for the importance of female literary networks in a twenty-first-century context. The chapter traces the literary legacy of each writer, as Kennedy describes the varying anthologies and collections in which each writer is included—history textbooks and women’s art collections, to name only two. The book concludes by restating the call to consider women writers in the context of a literary network, even if these women were unable to enjoy the travel and educational opportunities in which male writers in similar networks participated.
{"title":"We Are Imazighen: The Development of Algerian Berber Identity in Twentieth-Century Literature and Culture by Fazia Aïtel (review)","authors":"M. Lazreg","doi":"10.1353/pcp.2016.0000","DOIUrl":"https://doi.org/10.1353/pcp.2016.0000","url":null,"abstract":"interpretations of individual poems fresh, provocative, and nuanced. The concluding chapter, for example, argues for the importance of female literary networks in a twenty-first-century context. The chapter traces the literary legacy of each writer, as Kennedy describes the varying anthologies and collections in which each writer is included—history textbooks and women’s art collections, to name only two. The book concludes by restating the call to consider women writers in the context of a literary network, even if these women were unable to enjoy the travel and educational opportunities in which male writers in similar networks participated.","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"119 - 122"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/pcp.2016.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66525844","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":"Whitman Among the Bohemians ed. by Joanna Levin and Edward Whitley (review)","authors":"M. Mullins","doi":"10.1353/pcp.2016.0002","DOIUrl":"https://doi.org/10.1353/pcp.2016.0002","url":null,"abstract":"","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"23 1","pages":"122 - 126"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/pcp.2016.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66525893","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}
This article argues that Glory Boughton is the central figure in Marilynne Robinson’s Home and that the novel’s main arc is Glory’s recovery from situational depression caused not only by the end of her engagement but also by her not having fully mourned the death twenty years earlier of her brother Jack’s baby.
{"title":"Mourning Glory: Grief and Grieving in Robinson’s Home","authors":"S. Petit","doi":"10.1353/PCP.2016.0003","DOIUrl":"https://doi.org/10.1353/PCP.2016.0003","url":null,"abstract":"This article argues that Glory Boughton is the central figure in Marilynne Robinson’s Home and that the novel’s main arc is Glory’s recovery from situational depression caused not only by the end of her engagement but also by her not having fully mourned the death twenty years earlier of her brother Jack’s baby.","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"106 - 88"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/PCP.2016.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66525901","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}
to involve new forms. That is, not just assimilating this theme to new forms, but having the forms themselves change” (134). O’Neill’s response is sharp and challenges the very assumptions on which the continuity/ disruption debate rests. He replies, “Look, if you think that 9/11 is an unprecedented chapter in human experience, then yes, maybe you need an unprecedented form to write about it. . . . Let’s put it another way: Let’s say 9/11 had been foiled . . . would we say that the current form of the novel was perfectly satisfactory?” (134). O’Neill points to the most important role this volume plays in 9/11 studies. It unearths little known 9/11 texts and tests them in new ways against ideas of globalism, transnational cultural connections, and the new imperialism of the United States. These new analyses, read against the backdrop of the special relationship between the United States and the UK, serve to show us a major gap in the field but also teach us to question the initial frames within which we rush to understand any major phenomena. In her concluding remarks Miller asks if we have instead of recovering from the horror of the attacks amplified them (12). In her final analysis we see the actual value of this volume. Miller’s contributors, in her words, refuse “to choose between the theories of trauma or spectacle” or “between the plight of the victim and the problem of figuring and understanding responsibility for violence” (12). In a field flooded with books looking at 9/11 through any number of narrow lenses, this one stands out, because it offers what anyone studying a disaster ten years on needs. Miller states it well, “Critical variety is essential for any great understanding of this catastrophic event” (12).
{"title":"Classical Traditions in Science Fiction ed. by Brett M. Rogers and Benjamin Eldon Stevens (review)","authors":"J. Harrisson","doi":"10.1353/pcp.2016.0010","DOIUrl":"https://doi.org/10.1353/pcp.2016.0010","url":null,"abstract":"to involve new forms. That is, not just assimilating this theme to new forms, but having the forms themselves change” (134). O’Neill’s response is sharp and challenges the very assumptions on which the continuity/ disruption debate rests. He replies, “Look, if you think that 9/11 is an unprecedented chapter in human experience, then yes, maybe you need an unprecedented form to write about it. . . . Let’s put it another way: Let’s say 9/11 had been foiled . . . would we say that the current form of the novel was perfectly satisfactory?” (134). O’Neill points to the most important role this volume plays in 9/11 studies. It unearths little known 9/11 texts and tests them in new ways against ideas of globalism, transnational cultural connections, and the new imperialism of the United States. These new analyses, read against the backdrop of the special relationship between the United States and the UK, serve to show us a major gap in the field but also teach us to question the initial frames within which we rush to understand any major phenomena. In her concluding remarks Miller asks if we have instead of recovering from the horror of the attacks amplified them (12). In her final analysis we see the actual value of this volume. Miller’s contributors, in her words, refuse “to choose between the theories of trauma or spectacle” or “between the plight of the victim and the problem of figuring and understanding responsibility for violence” (12). In a field flooded with books looking at 9/11 through any number of narrow lenses, this one stands out, because it offers what anyone studying a disaster ten years on needs. Miller states it well, “Critical variety is essential for any great understanding of this catastrophic event” (12).","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"51 1","pages":"112 - 116"},"PeriodicalIF":0.0,"publicationDate":"2016-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/pcp.2016.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66526011","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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