Beautiful Enemies: Friendship and Postwar American PoetryOxford University Press, 2006年9月21日 - 376 頁 Although it has long been commonplace to imagine the archetypal American poet singing a solitary "Song of Myself," much of the most enduring American poetry has actually been preoccupied with the drama of friendship. In this lucid and absorbing study, Andrew Epstein argues that an obsession with both the pleasures and problems of friendship erupts in the "New American Poetry" that emerges after the Second World War. By focusing on some of the most significant postmodernist American poets--the "New York School" poets John Ashbery, Frank O'Hara, and their close contemporary Amiri Baraka--Beautiful Enemies reveals a fundamental paradox at the heart of postwar American poetry and culture: the avant-garde's commitment to individualism and nonconformity runs directly counter to its own valorization of community and collaboration. In fact, Epstein demonstrates that the clash between friendship and nonconformity complicates the legendary alliances forged by postwar poets, becomes a predominant theme in the poetry they created, and leaves contemporary writers with a complicated legacy to negotiate. Rather than simply celebrating friendship and poetic community as nurturing and inspiring, these poets represent friendship as a kind of exhilarating, maddening contradiction, a site of attraction and repulsion, affinity and rivalry. Challenging both the reductive critiques of American individualism and the idealized, heavily biographical celebrations of literary camaraderie one finds in much critical discussion, this book provides a new interpretation of the peculiar dynamics of American avant-garde poetic communities and the role of the individual within them. By situating his extensive and revealing readings of these highly influential poets against the backdrop of Cold War cultural politics and within the context of American pragmatist thought, Epstein uncovers the collision between radical self-reliance and the siren call of the interpersonal at the core of postwar American poetry. |
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第 1 到 5 筆結果,共 81 筆
第 xi 頁
... words can tell. Infinitely patient, unconditionally supportive, a sharp-eyed editor and a trusted advisor, Kara has taught me nearly everything I know about the meaning of friend- ship and love, especially the “beautiful” parts. This ...
... words can tell. Infinitely patient, unconditionally supportive, a sharp-eyed editor and a trusted advisor, Kara has taught me nearly everything I know about the meaning of friend- ship and love, especially the “beautiful” parts. This ...
第 13 頁
... words, “to identify and distinguish the New York School” (“within the bounds of an aesthetic that aimed to resist all conventions of style”), surely the presence of Baraka within those pages suggests that his kinship with the New York ...
... words, “to identify and distinguish the New York School” (“within the bounds of an aesthetic that aimed to resist all conventions of style”), surely the presence of Baraka within those pages suggests that his kinship with the New York ...
第 18 頁
... words and aesthetic practices. Not only do the poets write in a noticeably Emersonian and pragmatist idiom, but their work also lays bare some of the trenchant paradoxes and the more disquieting implications churning within this ...
... words and aesthetic practices. Not only do the poets write in a noticeably Emersonian and pragmatist idiom, but their work also lays bare some of the trenchant paradoxes and the more disquieting implications churning within this ...
第 24 頁
... words is dizzying. One must outgrow the love that has enabled one to grow” (Emerson, 155). Yet little has been said about the heartbreaking concept of human relations enunciated in American philosophy and poetry. What does it mean for a ...
... words is dizzying. One must outgrow the love that has enabled one to grow” (Emerson, 155). Yet little has been said about the heartbreaking concept of human relations enunciated in American philosophy and poetry. What does it mean for a ...
第 32 頁
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內容
3 | |
Community Individualism and Cold War Culture | 26 |
2 Emerson Pragmatism and the New American Poetry | 53 |
Selfhood and Friendship in Frank OHaras Poetry | 86 |
John Ashbery and the Interpersonal | 127 |
5 Amiri Baraka and the Poetics of Turning Away | 166 |
Barakas White Friend Blues | 194 |
OHara Ashbery and the Paradoxes of Friendship | 233 |
Conclusion | 275 |
Notes | 287 |
Works Cited | 331 |
Index | 345 |
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aesthetic African-American ambivalence American poetry Amiri Baraka argues artistic Ashbery’s Ashbery’s poem avant-garde avant-garde poetry become calls chapter Charles Olson Choses Passagères close Cold War collaboration conformity continually creative critics critique Dante’s David Lehman Diane di Prima discussion early echo Emerson Emersonian essay example existentialism experience experimental Fairfield Porter feel Frank O’Hara friends friendship Gooch Goodman’s hell homosexual idea identity important individual influence inspiration intellectual James James’s jazz John Ashbery Kenneth Koch kind language Larry Rivers later LeSueur letter literary live mobility motion movement moving O’Hara and Ashbery O’Hara’s poem one’s paradoxes perhaps philosophy phrase play poem’s poet’s poetic political Posnock postwar American postwar avant-garde pragmatism pragmatist racial reference relationship Richard Poirier says seems self-reliance selfhood sense sexual skepticism social Stevens suggests tension things tion tradition trope turning William words writing York School York School poets