Search Results for auden

...Stewart Cole Copyright © Hofstra University 2014 Love and Other Gods: Personification and  Volition in Auden Love and Other Gods: Personification and  Volition in Auden Stewart Cole Around 1940, just after his move to America, a crucial distinction enters W. H. Auden’s writing...

...Aidan Wasley Auden at Work , edited by Costello Bonnie Galvin Rachel . New York : Palgrave Macmillan , 2015 . 309 pages. Copyright © 2017 Hofstra University 2017 At the Women’s March in Washington, DC, on January 21, 2017, the day after Donald Trump’s inauguration, Madonna...

...Jesse Zuba © 2015 by Hofstra University 2013 Jesse Zuba “Everything Has a Schedule”: John Ashbery’s Some Trees and the Notion of Career Jesse Zuba “From the start,” Edward Brunner writes, “the very existence of the book had been problematic” (76). W. H. Auden, editor of the Yale...

... poetics Gossip, though it can be exceedingly interesting when the parties are alive, is not at all interesting when they’re dead. —W. H. Auden (1946) Who could ever think—in particular, at this date, what gay man—that someone’s death ever stopped the elaboration of someone else’s fantasy...

... poetry . . . but the recently published, excellent edition of his collected poems should go some distance toward redressing the bal­ ance” (“Knot” 23). In his review, Sean O ’Brien regrets that “gossip has displaced writing among the interests of many readers,” but affirms, in Auden’s phrase...

.... Auden and Ralph Ellison, as the behavioral mode of waiting in Elizabeth Bowen, and as the sound of war in Frank O’Hara (228). Following these various threads requires a wide range of approaches and critical frameworks, and it is with little fanfare but great dexterity that Seiler succeeds, demonstrating...

...Susannah L. Hollister 2012 Elizabeth Bishop’s Geographic Feeling Elizabeth Bishop’s Geographic Feeling Susannah L. Hollister In one entry of W. H. Auden’s “Journal of an Airman,” the airman calculates the space that an individual life might cover: “A man occupies about 6 ft...

... aggrandizing talents has be­ com e one o f the clichés o f tw entieth-century literary history. R oy Campbell’s satirical figure “MacSpaunday” typifies such accounts (Alex­ ander 199). Campbell’s amalgamation o f M acNeice, Spender, Auden, and Day-Lewis into a single careerist, cowardly...

... by the experience of a beloved’s body. Douglas’s poetry arrives at the balancing of cynic and lyric, then, by confusing and conflating these special gnostic conditions, and its resonant image is the battlefield corpse conflated with the lover in repose. Works Cited Auden W. H. 1979 . Selected Poetry...

... twentieth-century poetry’s engagement with the topics of money, exchange, and labor. One of the best features of his thematic approach is the way it makes room for such vital younger poets as Jennifer Moxley and Kevin Davies alongside more familiar figures like Ashbery and Auden. Nealon’s...

... of the verse drama of Eliot, Yeats, and W. H. Auden, his ritual emphasis varying slightly in each chapter. With Eliot, Query argues that the poet’s understanding of the English language as both local and expressive of the mind of Europe leads Eliot to situate verse drama as the stage on which English poetry...

... reveal The little natures that will make us cry, Who never quite believed they could exist, Not where we were. They take us by surprise Like ugly long-forgotten memories —W. H. Auden, “In Time of War,” 1938 (English Auden 256) Hands of the longed, withheld tomorrow...

..., syllabi, and publishers’ lists. A few authors from the period, such as W. H. Auden, have, as Cunningham puts it, made “it into the pantheon of the great and good” (6), but their standing often depends partly on the claim that they avoided or later rejected the errors of their contemporaries. As Kohlmann...

...). The cast of literary figures in the book is indeed quite diverse, featuring Oscar Wilde, Charles Baudelaire, Theodore Dreiser, Edith Wharton, Edgar Allan Poe, Jean Rhys, Joseph Conrad, Djuna Barnes, Ezra Pound, Mina Loy, and W. H. Auden, among others. But, as Rives suggests, her analysis of the face often...

... in letters and notes—George Herbert, Edgar Allan Poe, Auden, Baudelaire, Stevens—were writers who made use of danse macabre in their work. Herbert’s poem “Dooms-day” 2 associates Death with music and gaiety—“For we do now behold thee [Death] gay and glad” (2007, 182)—appropriating the musical pageantry...

.... Auden speaks from beyond the grave, the authorial self is explic­ itly presented as a bit performer in the larger drama which is the work: “ THINK WHAT A M INOR / PART THE SELF PLAYS IN A WORK OF ART” (262). The opening up of the self to forces that exceed it works on two levels...

... it is not for everyone to “bless what there is for being” (134) in the words of W. H. Auden. The ordinary, the everyday, has often been viewed not as path to or locus of transcendence but as an unfortunate detour or obstacle. Part of the task of the Biblical prophets, for instance, involved dismaying...

..., including a review of W. H. Auden’s “Look, Stranger!” which she titled “The Mechanics of Pretense.” Here, almost against the conventional aims of the review genre, she imagines time and chance as the forces that determine a work’s success, rather than the conscious choices that went into its...

... authority. In the essay “Sounding Auden” in The Government of the Tongue, Heaney proposes to chart “the shifting relation between the kind of au­ thority W. H. Auden sought and achieved and what might be described as his poetic music” (109), but the distinction he proposes between...

... himself with Auden: “I am used to dealing with the question of whether I am, qua poet, American or English; and usually can escape by pointing out that whichever Wystan Auden is, I am the other: though seriously my poetry, like that of other poets, shows traces of every environment in which I have lived...