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The great Pierre Reverdy, comrade to Picasso and Braque, peer and contemporary of Wallace Stevens and William Carlos Williams, is among the most mysteriously satisfying of twentieth-century poets, his poems an uncanny mixture of the simple and the sublime. Reverdy’s poetry has exerted a special attraction on American poets, from Kenneth Rexroth to John Ashbery, and this new selection, featuring the work of fourteen distinguished translators, most of it appearing here for the first time, documents that ongoing relationship while offering readers the essential work of an extraordinary writer. Translated from the French by: John Ashbery Dan Bellm Mary Ann Caws Lydia Davis Marilyn Hacker Richard Howard Geoffrey O’Brien Frank O’Hara Ron Padgett Mark Polizzotti Kenneth Rexroth Richard Sieburth Patricia Terry Rosanna Warren
A comprehensive bi-lingual sampling of Pierre Reverdy's (1889-1960) poetry. Ably edited and translated, with commentary and notes by Mary Ann Caws and additional translations by Patricia Terry, this edition provides a more in depth look than many of the volumes that currently provide small samplings of his poetry and writings. Includes all of Reverdy's Les Ardoises du toit (The Roof Slates), representing many of his finest poems in verse and follows with his wonderful prose poems presented chronologically.
Frank O’Hara Now by Robert Hampson,Will Montgomery Pdf
Frank O’Hara’s writing is central to any consideration of 20th century American poetry. This collection of essays, the first to be dedicated to O’Hara in nearly two decades, asks why O’Hara remains so important to 21st century readers and writers of poetry. The book is transatlantic in tone, combining American scholarship with a wide sampling of British writers. For many, O’Hara’s distinctive appeal depends on his witty depictions of urban experience, his relationship to the painters of Abstract Expressionism and the exhilarating immediacy of his poetic voice. Yet these chatty and approachable qualities coexist with a testing engagement with currents in European and American modernism. Frank O’Hara Now offers a comprehensive picture of the poet, presenting the conversational insouciance of the writing alongside its more intransigent features.
French Twentieth Bibliography by Douglas W. Alden,Peter C. Hoy Pdf
This series of bibliographical references is one of the most important tools for research in modern and contemporary French literature. No other bibliography represents the scholarly activities and publications of these fields as completely.
Fiction. Translated from the French by John Ashbery. Pierre Reverdy's short story HAUNTED HOUSE, originally published in 1930 in a collection of prose tales called Risques et Perils, is very different than his typically oblique, allusive and dreamlike poetry. Rife with mock rhetorical grandeur and ironic asides, HAUNTED HOUSE was lauded and included in Andre Breton's list of ten books he would take to a desert island. John Ashbery is the author of numerous volumes of poetry and has translated the works of Stephane Mallarme, Giorgio de Chirico, Raymond Roussel, Max Jacob and Alfred Jarry. Since 1990 he has been the Charles P. Stevenson, Jr. Professor of Languages and Literature at Bard College.
Photography, cinema, and video have irrevocably changed the ways in which we view and interpret images. Indeed, the mechanical reproduction of images was a central preoccupation of twentieth-century philosopher Walter Benjamin, who recognized that film would become a vehicle not only for the entertainment of the masses but also for consumerism and even communism and fascism. In this volume, experts in film studies and art history take up the debate, begun by Benjamin, about the power and scope of the image in a secular age. Part I aims to bring Benjamin's concerns to life in essays that evoke specific aspects and moments of the visual culture he would have known. Part II focuses on precise instances of friction within the traditional arts brought on by this century's changes in the value and mission of images. Part III goes straight to the image technologies themselves—photography, cinema, and video—to isolate distinctive features of the visual cultures they help constitute. As we advance into the postmodern era, in which images play an ever more central role in conveying perceptions and information, this anthology provides a crucial context for understanding the apparently irreversible shift from words to images that characterized the modernist period. It will be important reading for everyone in cultural studies, film and media studies, and art history.
NATIONAL BESTSELLER Certain lives are at once so exceptional, and yet so in step with their historical moments, that they illuminate cultural forces far beyond the scope of a single person. Such is the case with Coco Chanel, whose life offers one of the most fascinating tales of the twentieth century—throwing into dramatic relief an era of war, fashion, ardent nationalism, and earth-shaking change—here brilliantly treated, for the first time, with wide-ranging and incisive historical scrutiny. Coco Chanel transformed forever the way women dressed. Her influence remains so pervasive that to this day we can see her afterimage a dozen times while just walking down a single street: in all the little black dresses, flat shoes, costume jewelry, cardigan sweaters, and tortoiseshell eyeglasses on women of every age and background. A bottle of Chanel No. 5 perfume is sold every three seconds. Arguably, no other individual has had a deeper impact on the visual aesthetic of the world. But how did a poor orphan become a global icon of both luxury and everyday style? How did she develop such vast, undying influence? And what does our ongoing love of all things Chanel tell us about ourselves? These are the mysteries that Rhonda K. Garelick unravels in Mademoiselle. Raised in rural poverty and orphaned early, the young Chanel supported herself as best she could. Then, as an uneducated nineteen-year-old café singer, she attracted the attention of a wealthy and powerful admirer and parlayed his support into her own hat design business. For the rest of Chanel’s life, the professional, personal, and political were interwoven; her lovers included diplomat Boy Capel; composer Igor Stravinsky; Romanov heir Grand Duke Dmitri; Hugh Grosvenor, the Duke of Westminster; poet Pierre Reverdy; a Nazi officer; and several women as well. For all that, she was profoundly alone, her romantic life relentlessly plagued by abandonment and tragedy. Chanel’s ambitions and accomplishments were unparalleled. Her hat shop evolved into a clothing empire. She became a noted theatrical and film costume designer, collaborating with the likes of Pablo Picasso, Jean Cocteau, and Luchino Visconti. The genius of Coco Chanel, Garelick shows, lay in the way she absorbed the zeitgeist, reflecting it back to the world in her designs and in what Garelick calls “wearable personality”—the irresistible and contagious style infused with both world history and Chanel’s nearly unbelievable life saga. By age forty, Chanel had become a multimillionaire and a household name, and her Chanel Corporation is still the highest-earning privately owned luxury goods manufacturer in the world. In Mademoiselle, Garelick delivers the most probing, well-researched, and insightful biography to date on this seemingly familiar but endlessly surprising figure—a work that is truly both a heady intellectual study and a literary page-turner. Praise for Mademoiselle “A detailed, wry and nuanced portrait of a complicated woman that leaves the reader in a state of utterly satisfying confusion—blissfully mesmerized and confounded by the reality of the human spirit.”—The Washington Post “Writing an exhaustive biography of Chanel is a challenge comparable to racing a four-horse chariot. . . . This makes the assured confidence with which Garelick tells her story all the more remarkable.”—The New York Review of Books “Broadly focused and beautifully written.”—The Wall Street Journal
