...Matthew Levay Copyright © Hofstra University 2010 Surrealism and the Art of Crime , by Eburne Jonathan P. , Ithaca : Cornell University Press , 2008 . 324 pages. Review Criminal, Political, Surreal Surrealism and the Art of Crime by Jonathan P. Eburne Ithaca: Cornell...

...Jeffrey Severs Drawing on archival sources, I argue that the 1962 Seattle World’s Fair (also known as Century 21) was an important source for Thomas Pynchon’s surreal depictions of the Raketen-Stadt in Gravity’s Rainbow . Accounts of the influence of Seattle on Pynchon have been limited to his work...

... to—“the Darwin Letter,” the famous letter of 1964 to Anne Stevenson in which Bishop writes that Dreams, works of art (some) glimpses of the always-more-suc- cessful surrealism of everyday life, unexpected moments of em- pathy (is it catch a peripheral vision of whatever it is one can...

... that “there is no split personality, but rather a sensitivity that extends equally into the subconscious and the conscious world.” In her reply Bishop agrees about the lack of a “split” between the conscious and the uncon­ scious but is less enthusiastic about surrealism. Instead, she changes...

... manifestations” (2009c, 225). 9 Porter’s story, however, might be seen as contributing to an alternative to surrealism known as superrealism. According to Mansanti, this was “a concrete, dynamic, American form of Surrealism, relying on the physiological body … unlike the more abstract and psychological...

... reflects on the dialectic between reality and fantasy as an essential state of the war novel. The war novel contains an element of surreality in order to deny the horror. O’Brien observes that In war, the rational faculty begins to diminish . . . and what takes over is surrealism, the life...

..., as in “Lorine Niedecker, the Anonymous: Gender, Class, Genre, and Resistances,” where she analyzes Niedecker’s subversive reinvention of the nursery rhyme and the folk ballad, or in “The Gendered Marvel­ ous: Barbara Guest, Surrealism, and Feminist Reception,” which considers Guest’s reinterpretation...

... skill” (1973, 126). Kohlmann insists on the political dimensions of English surrealism, arguing that many of the artists who contributed to the movement initially believed “in poetry’s ability to change society,” and he discusses writers such as Roger Roughton to trace their attempts to construct...

... as a prosthetic eye something of the “surrealism of everyday life” that Bishop sought to present in her work. Her remarks on Auden are equally insightful. Bishop traces the work of poetry as one of pretense: One of the causes of poetry must be, we suppose, the feeling that the contemporary...

... dimen- sions (e.g., Hopper, O’Keeffe, Tanning; surrealism, pop, photography), but also, as Levy would have it, literature itself. Her book begins by sketching a striking, unfamiliar portrait of early Greenberg as would-be poet, fret- 711 Phoebe Putnam ting in a 1939 letter (just prior...

... into battle; Adam Piette’s “Keith Douglas and the Poetry of the Second World War” opens by contemplating Douglas’s relation surrealism as a passing through the looking glass: “The brutal comedy of the war from Egypt to Tunisia is stylised according to the economy of Carroll’s nonsense . . . . The comedy has...

... and sometimes surreal imagery, for example, operate outside of the regimentation, rigid management, and mechanization characterizing his depictions of Black workers in the Canal Zone. Similarly, his close attention to scenes of racial, cultural, and linguistic mixing also challenges the plantation system’s...

... is characterized by its eclecticism, with strains of such movements as symbolism, surrealism, and postmodernism. In the earliest stages of modern Persian translation, French literature exerted the strongest influence. 3 In the first decades of the twentieth century, late Qajar and early Pahlavi poets took...

... no longer compete with this new and infinitely more precise recording me- dium. Painting in the age of photography instead returned to its roots of color and design as articulated in modern movements embracing abstrac- tion, expressionism, or surrealism (13-15). Modern fiction can similarly be seen...

... other,” in an unpublished 1966 graduate essay, Coetzee writes, “It is presumably this dichotomy that lands Watt in the asylum” (1966). In “Surreal Metaphors and Random Processes” (1979), in response to the possibility of a computer poetry based on a grammatically programmed master routine, Coetzee...

... asserts that, as art movements go, postmodernism (or “the Post-Modern,” in his rendering) has at fifty years in the making been considerably longer lived than modernist avant-garde movements such as vorticism, futurism, or surrealism. As an aesthetics, or even as a dominant cultural order, the postmodern...

... reading of the 1972 preface Duncan wrote for a new edition of Caesar’s Gate (1955). In this text, Duncan “undertakes a ‘relentless’ meditation on the issues of homosexuality, personal and poetic embarrassment, surrealism, and exoticism (with reference to an imaginary ‘Asia and he develops...

...), but with objects outside the realm of human duration, or, rather, intersecting only in part with human existence. Take, for instance, the found object, which both Brown and Bennett discuss in the context of their theories of the “thing.” For Brown, the found objects of surrealism 8 serve as an excellent example...

... operation in Freud’s demystification of seemingly innocent dreams. Cf. The Interpretation of Dreams, especially chapter 6, “The Dreamwork,” 311-546. 13. Katharina Bunzmann argues that Robin’s “close association with animals and plants” is “a frequent trope regarding women in [French] Surrealism...

... with surreal and violent imagery, it offers a harrowing vision of a killing machine: Knives for feet, and wheels for a chin, And the long smooth iron bore for a neck, And bullets for hands. . . . And the root runs in, The root of blood no stone can check, From the breasts of the grinding crash of sin...