Announcements

Forthcoming Events

  • Book and Manuscript Exhibit: Two American Poets: Wallace Stevens & William Carlos Williams, from the collection of Alan M. Klein

January 16-February 23, 2019
The Grolier Club
47 East 60th Street
New York, NY

Illuminating the parallel and overlapping careers and relationships of Wallace Stevens and William Carlos Williams, the exhibition juxtaposes the two poets with unique material on view for the first time. It provides a remarkable opportunity to better understand the intersections of their careers, their development as poets, the progression of their reputations and the birth of American modernism.

Wallace Stevens and William Carlos Williams are widely recognized as two of the towering giants of mid-twentieth-century American poetry, but are rarely thought of together despite their mutual admiration and personal relationship spanning over forty years. These collections of Stevens and Williams – about 250 items assembled over the past twenty years – include items ranging from their respective school days in the 1890s throughout their lives until shortly before Williams’s death in 1963.

The catalogue includes essays by biographer Paul Mariani, poets Daniel Halpern and Nicole Sealey, and collector Alan Klein.

There will be public tours of the exhibit by the curator at 1:00 pm on January 24, January 31, February 5, and February 12, 2019.

 

  • Art Exhibit: “The Tongue is an Eye”: Poetry, the Visual Arts, and Wallace Stevens

January 11-March 17, 2019
University of Saint Joseph
Art Museum
West Hartford, CT

From Thomas Cole and William Cullen Bryant to Jasper Johns and John Yau, American artists and poets have inspired each other. Not only did Wallace Stevens write numerous poems inspired by works of art, his verse in turn has stimulated the creativity of many visual artists. Writing about “The Relations between Poetry and Painting” Stevens notes: “in an age in which disbelief is so profoundly prevalent or, if not disbelief, indifference to questions of belief, poetry and painting, and the arts in general, are, in their measure, a compensation for what has been lost.”

This exhibition explores connections between poetry and visual art by bringing prominent Connecticut poets to mine the collection of the Art Museum for works that they feel capture the spirit of specific poems by Wallace Stevens.

Click here for more information.

 

New & Forthcoming Publications

  • Lisa Goldfarb, Unexpected Affinities: Modern American Poetry and Symbolist Poetics (Sussex University Press, 2018).

Unexpected Affinities: Modern American Poetry and Symbolist Poetics studies the impact of Stevensian and Valéryan poetics, and symbolist poetics more broadly, on a range of Anglo-American poets in untypical fashion. Pairing poets who are not usually studied in their relation to one another reveals mutuality and dissimilitude. Chapter I looks at Stevens and Valéry from the vantage point of the senses as opposed to the more usual lens of their similar cerebral or philosophical temperaments. Although critics have largely and justifiably seen Stevens and Eliot in oppositional terms (Stevens proclaims them “dead opposites”), Lisa Goldfarb asks what happens when we look at them from the vantage point of their mutual interest in creating a musical poetics. Auden is principally known for his distaste for the symbolists and their magical poetics, yet he reserves special praise for Valéry and considers him as his poetic mentor; Chapter III studies their poetics side-by-side. With Stevens’ and Auden’s mutual appreciation of Valéry as a starting point, Chapter IV turns to a closer comparative study of Auden and Stevens, two poets who have traditionally been seen as operating in distinct poetic spheres. While Elizabeth Bishop famously eludes categorization in terms of poetic school or affiliation, a fifth chapter addresses her poetic music in relation to French symbolist poetics, one of the many poetic schools she admired. A sixth and final chapter examines Stevens’ musical legacy, in large part derived from the symbolists, and addresses the work of a range of modern and contemporary poets, with a final section devoted to the work of contemporary poet, Susan Howe.

For more information, click here.

 

  • Joan Richardson, How to Live, What to Do: Thirteen Ways of Looking at Wallace Stevens (University of Iowa Press, 2018).

How to Live, What to Do is an indispensable introduction to and guide through the work of a poet equal in power and sensibility to Shakespeare and Milton. Like them, Stevens shaped a new language, fashioning an instrument adequate to describing a completely changed environment of fact, extending perception through his poems to align what Emerson called our “axis of vision” with the universe as it came to be understood during his lifetime, 1879–1955, a span shared with Albert Einstein. Projecting his own imagination into spacetime as “a priest of the invisible,” persistently cultivating his cosmic consciousness through reading, keeping abreast of the latest discoveries of Einstein, Max Planck, Niels Bohr, Louis de Broglie, and others, Stevens pushed the boundaries of language into the exotic territories of relativity and quantum mechanics while at the same time honoring the continuing human need for belief in some larger order. His work records how to live, what to do in this strange new world of experience, seeing what was always seen but never seen before.

For more information, click here.

 

  • Wallace Stevens, Poetry, and France, edited by Juliette Utard, Bart Eeckhout, and Lisa Goldfarb (Editions rue d’Ulm, 2018). 

Wallace Stevens, Poetry, and France offers the first book-length study of the various effects—poetic and prosaic, serious and comic, strange and familiarproduced by the deployment of French languages and cultures in Stevenspoetry. Prominent Stevens scholars reexamine here a number of key issues raised by Stevens’ “special relation” to France from angles as diverse as translation studies, aesthetics, linguistics, comparative literature, French theory, and politics. With contributions by Charles Altieri, Antoine Cazé, Aurore Clavier, Angus Cleghorn, Bart Eeckhout, Lisa Goldfarb, Thomas Gould, Gül Bilge Han, Xavier Kalck, Anne Luyat, Glen MacLeod, Maureen N. McLane, Axel Nesme, Edward Ragg, Tony Sharpe, Lisa M. Steinman, and an introduction by Juliette Utard.

To view the ebook, click here.

 

 

  • Wallace Stevens in Context, edited by Glen MacLeod (Cambridge University Press, 2017).

Wallace Stevens is generally considered one of the great twentieth-century American poets. Yet his original, sometimes highly abstract poetry can make him seem difficult and unapproachable to many readers. This book aims to overcome that difficulty by providing the contexts that clarify and explain Stevens’s ways of thinking and feeling. In thirty-six short essays, an international team of distinguished scholars provides a comprehensive overview of Stevens’s life and the world of his poetry. Individual chapters relate Stevens to such important contexts as the large Western movements of romanticism and modernism; particular American and European philosophical traditions; contemporary and later poets; the professional realms of law and insurance; the parallel art forms of painting, music, and theater; his publication history, critical reception, and international reputation. Other chapters address topics of current interest like war, politics, religion, race and the feminine. Informed by the latest developments in the field, but written in clear, jargon-free prose, Wallace Stevens in Context is an indispensable introduction to this great modern poet.

For more information, click here.

 

 

  • Poetry and Poetics after Wallace Stevens, edited by Bart Eeckhout and Lisa Goldfarb (Bloomsbury, 2017).

“As the figure of Wallace Stevens (1879-1955) becomes so entrenched in the Modernist canon that he serves as a major reference point for poets and critics alike, the time has come to investigate poetry and poetics after him. The ambiguity of the preposition is intentional: while after may refer neutrally to chronological sequence, it also implies ways of aesthetically modeling poetry on a predecessor. Likewise, the general heading of poetry and poetics allows the sixteen contributors to this volume to range far and wide in terms of poetics (from postwar formalists to poets associated with various strands of Postmodernism, Language poetry, even Confessional poetry), ethnic identities (with a diverse selection of poets of color), nationalities (including the Irish Nobel Laureate Seamus Heaney and several English poets), or language (sidestepping into French and Czech poetry).

Besides offering a rich harvest of concrete case studies, Poetry and Poetics after Wallace Stevens also reconsiders possibilities for talking about poetic influence. How can we define and refine the ways in which we establish links between earlier and later poems? At what level of abstraction do such links exist? What have we learned from debates about competing poetic eras and traditions? How is our understanding of an older writer reshaped by engaging with later ones? And what are we perhaps not paying attention to-aesthetically, but also politically, historically, thematically-when we relate contemporary poetry to someone as idiosyncratic as Stevens?”

For more information, click here.

 

  • Paul Mariani, The Whole Harmonium: The Life of Wallace Stevens (Simon & Schuster, 2016).

“Wallace Stevens lived a richly imaginative life that found expression in his poetry. His philosophical questioning, spiritual depth, and brilliantly inventive use of language would be profound influences on poets as diverse as William Carlos Williams, Hart Crane, Elizabeth Bishop, and John Ashbery. The Whole Harmonium presents Stevens within the living context of his times, as well as the creator of a poetry which has had a profound and lasting impact on the modern imagination itself.

Stevens established his career as an executive even as he wrote his poetry, becoming a vice president with an insurance company in Hartford, Connecticut. His first and most influential book, Harmonium, was not published until he was forty-four years old. In these poems, Stevens drew on his interest in and understanding of modernism. Over time he became acquainted with the most accomplished of his contemporaries, Robert Frost and William Carlos Williams among them, but his personal style remained unique. He endured an increasingly unhappy marriage, losing himself by writing poetry in his study. Yet he had a witty, comic, and Dionysian side to his personality, including long fishing (and drinking) trips to Florida with his pals and a fascination with the sun-drenched tropics.

People generally know two things about Wallace Stevens: that he is a “difficult” poet and that he was an insurance executive for most of his life. Stevens may be challenging to understand, but he is also greatly rewarding to read. Now, sixty years after Stevens’s death, biographer and poet Paul Mariani shows how over the course of his life, Stevens sought out the ineffable and spiritual in human existence in his search for the sublime.”

For more information, click here.