Pub Date : 2022-08-01DOI: 10.1215/01903659-9789836
Nor Hall
This introduction to the Book of Ours tells stories of the processes of its production and the efforts made regarding its publication. The Book of Ours, a handwritten and hand-drawn workbook, was designed by Norman O. Brown and Nor Hall to accompany eight labyrinthine lectures on Hesiod and the Homeric Hymns that Brown gave for his “To Greet the Return of the Gods” class of 1970 and 1971. The workbook introduced undergraduates to the Greek alphabet, gave references for lecture material written on the blackboard, and provided a bibliography. Intended as a pedagogical tool, each page lent annotated white space for notes, musings, and poetic utterance.
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789808
M. Davidson
The following selections from letters exchanged between Robert Duncan and Norman O. Brown display the range and interest of their extensive correspondence. The correspondence was generative for both figures, and shows a degree of mutual affection and personal concern beyond their intellectual interests. The letters are retrieved from the special collections libraries at the University of California, Santa Cruz, and the University of Buffalo.
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789626
Madeline Rose Hernandez
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789598
B. Katz
An intellectual iconoclast, Norman O. Brown was one of the most imaginative contributors to post–World War II cultural theory. His books, grounded in deep classical erudition, include Hermes the Thief (1947), a pioneering attempt to apply Marxist historiography to the evolution of a Greek myth; Life against Death (1959), his acclaimed psychoanalytic reinterpretation of history; Love's Body (1966), an aphoristic questioning of the rationalist foundations of Western civilization; and Closing Time (1973), in which Brown interjects himself into an imagined conversation between eighteenth-century philosopher Giambattista Vico and the writer James Joyce. This essay traces the arc of his intellectual journey from its classical sources (Hermes and Hesiod) to his late confrontation with Vico and Joyce, from which he concluded, “There comes a time—I believe we are in such a time—when civilization has to be renewed by the discovery of new mysteries.”
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789724
Rob Wilson
By a transfigurative recoding of selfhood and quasi-biblical analogizing of historical events across space and time, Bob Dylan enacted in his poetic name change from Zimmerman to Dylan (as he would writing across the larger body of his song-poetry) what Norman O. Brown had embraced, in Love's Body and Apocalypse and/or Metamorphosis if not throughout his works early and late, as tactics of “figural interpretation, [that] discovered world-historical significance in any [everyday trivial] event—an event which remains trivial for those who do not have eyes to see.” Transfiguration for Brown was not merely a figural, intertextual, or rhetorical shift of tropes, as will be elaborated; it also implies more strongly a biomorphic metamorphosis of self and world, soul and matter, bios and logos, via the morphological and linguistic transformation of terms and forms. Such metaphoric twists and troping turns of metamorphosis aim to remake the world into fluid, multiple forms of becoming befitting what a flourishing Romantic imagination longs for (via transubstantiation) and what Brown defines (and Dylan performs as) feats of transfigurative metamorphosis: “Metamorphosis, or transubstantiation.” “Transubstantiate my form, says Daphne [as muse to Apollo, archetypal Greco-Roman poet].” In this essay, Brown will play Daphne provoking and inspiring in figures like Apollo what he terms as the “be leafing” (believing) patterns in a world-transforming visionary poet like Bob Dylan.
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789780
Jay E. Cantor
In this version of a talk at the Norman O. Brown conference, Jay Cantor traces the path from Life Against Death into and through Love's Body to outline the liberatory impulse that animated Brown's entire opus. The anti-identitarian character of this liberation found Brown turning on his earlier work—Love's Body was a torpedo aimed at Life Against Death—but never relinquishing his deep commitment, made in full cognizance of the psychic, historical, and political inducements to despair, to new poetics, new politics, and new corporeality.
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789668
M. Davidson
This essay explores the close relationship between the poet Robert Duncan and Norman O. Brown. Their long friendship and shared intellectual interests were generative for both, allowing Brown at one point to remark that the “poetry of Robert Duncan had made the writing of Love's Body possible.” Duncan responded in kind by featuring Brown in “Santa Cruz Propositions,” written while the poet was in residence at the University of California, Santa Cruz. That poem draws on Brown's theories of Eros as a daemonic power to criticize his (Duncan's) old friend, Denise Levertov, whose anti-war poetry he felt had grown shrill and hectoring. At the same time, the poem attempts to draw out Brown's Dionysian, poetic potential. Duncan made Norman O. Brown an unwitting co-conspirator in this effort by attempting to reveal the naked poet beneath the academic robes. Much of the essay is based on correspondence between the two figures.
本文探讨了诗人罗伯特·邓肯与诺曼·o·布朗之间的密切关系。他们长期的友谊和共同的知识爱好对两人都产生了影响，布朗一度评论说，“罗伯特·邓肯的诗歌使《爱的身体》的创作成为可能。”邓肯以同样的方式回应了布朗，他在《圣克鲁斯命题》(Santa Cruz proposition)中提到了布朗，这是布朗在加州大学圣克鲁斯分校(University of California, Santa Cruz)居住期间写的。这首诗借鉴了布朗的爱神论，作为一种恶魔般的力量来批评他(邓肯)的老朋友丹尼斯·莱弗托夫(Denise Levertov)，他觉得她的反战诗歌变得刺耳和威吓。同时，这首诗试图引出布朗酒神的诗歌潜能。邓肯让诺曼·o·布朗在这一努力中成为了一个不知情的同谋，他试图揭示这位赤裸的诗人在学术袍下的真面目。这篇文章的大部分内容都是基于这两个人物之间的通信。
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789738
J. Donahue
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789878
N. O. Brown
This lecture, a tribute to the Muses, was delivered by Norman O. Brown for his class of 1971, “To Greet the Return of the Gods.” It is spoken with the preacher's rhythmic diction and charmed hieratic voice, and is transcribed here to include Brown's intentional pauses, halting rhythms, repetitions, asides, and idiosyncratic quotes. As in the Orphic tradition, the professor becomes what he's professing: Brown teaches us to sing a love song according to the Muses, finding the meaning in the singing and in the etymology of the names of the divine sisters. Brown's nearly liturgical list of names is propelled by devotion to the feminine and to language, above all to Kalliopê, chiefest of Muses. The gift of the Muses to mortals, Brown argues, is a poetical politics essential in the ongoing iron age described by Hesiod. Poetry as prayer—yet the Muses make it new, “so everything can shine again.”
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Pub Date : 2022-08-01DOI: 10.1215/01903659-9789612
G. S. Sahota
Through an analysis of the legendary Islamic figure Khizr in the works of Norman O. Brown, Muhammad Iqbal, and Johann Wolfgang Goethe, this essay proposes world literature as a methodology for deriving possible alternatives to existing worlds. By tracing the dialectic of individual and collective selfhood in the figure of Khizr, the author delineates the fault lines that the encounter with this elusive figure portends for bourgeois imperialist regimes of identity. The counterpoint conveyed through the figure of Khizr is one that unveils paths toward practices of self-de-particularization and a symbolism of collective unity. Even in the twenty-first century, the figure of Khizr continues to serve as a potential for reawakening a linkage between Marxism, Islamic mysticism, the poetics of prophecy, the politics of nonidentity, and the philology of cultural contact zones.
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