CHICAGO REVIEW最新文献

{"title":"Eighty-Blade Sportsman's Knife, by Joseph Rodgers & Sons","authors":"Robyn Schiff","doi":"10.2307/j.ctt20ks0p9.8","DOIUrl":"https://doi.org/10.2307/j.ctt20ks0p9.8","url":null,"abstract":"","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"1 1","pages":"222"},"PeriodicalIF":0.1,"publicationDate":"2008-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68740654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Iron Door Knocker the Shape of a Man's Face, by Feetham","authors":"Robyn Schiff","doi":"10.2307/j.ctt20ks0p9.9","DOIUrl":"https://doi.org/10.2307/j.ctt20ks0p9.9","url":null,"abstract":"","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"1 1","pages":"225"},"PeriodicalIF":0.1,"publicationDate":"2008-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68740773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Welsh Poems","authors":"H. Staples","doi":"10.1525/9780520319493","DOIUrl":"https://doi.org/10.1525/9780520319493","url":null,"abstract":"Peter Finch, The Welsh Poems. Exeter: Shearsman, 2006. 146pp. $16 The Welsh Poems doesn't make much new. But that's not Peter Finch's project. Across the book, Finch figures the poem as a site of cognitive waste, a word-fill. The collection includes extended permutations, poems gleaned from websites, found-language chunks, and stream-of-consciousness blocks-all pointing away from notions of originality and toward ideas of infinite transformation. Regrettably, however, Finch's ideas are often more compelling than their realization. One long poem, \"Easy X-Rays\" includes four columns of words in reduced font spread across four and a half pages. It ends in eighteen repetitions of the word \"waste\" (which pick up three earlier iterations and a single \"waist\"). The poem draws a connection between language and discarded excess; it works best as a visual exemplification of the mind's detritus. Reading it, you have to wade through an awful lot of verbal rubbish. Those familiar with experimental poetry will quickly recognize the strategies required to read Finch's work. (The best experimental poetry, on the other hand, challenges the conventions that allow for its categorization.) Uninitiated readers may simply refuse to read the refuse, as the book is chock-full of fluff like the following from the poem \"Tea Room\": They took the road back in a car that leaked marking its territory as it went like a cat. Cat. Cart. Critch. Kringle Cat. Coot. Cooloop Cat. Cancan Teenadan Can Deeta Canrowtoo Canreeta Canrowtoo Cancreela Crimb Crime Crark Cat. Cob had two one huge with a lazy tongue one black and white with fragile bones so deep down in the fur you knew it had to be old. Such stream-of-consciousness heaps leave readers without a sense of destination or satisfying necessity. The \"huh\" or \"huh?\" that follows may be the most illuminating criticism available. To balance this engagement with excess, Finch also consistently alludes to spiritual encounters with blankness: \"I favour the cessation of particle movement, gaps between, cold.\" This, of course, recalls some eastern spiritual traditions, which clearly inform Finch's work. He overtly points to such an influence in the poem \"Past Interests,\" listing, along with many other interests, \"The martial arts aikido, tai chi chuan and tae kwondo\" and \"Tibetan Buddhism.\" What Gary Snyder describes, Peter Finch enacts-a transitory dwelling in \"That place where the outgoing breath ends and the incoming has not yet begun. …","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"53 1","pages":"184"},"PeriodicalIF":0.1,"publicationDate":"2007-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67336417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Asian American Poetry: The Next Generation","authors":"Timothy T. F. Yu","doi":"10.5860/choice.42-3258","DOIUrl":"https://doi.org/10.5860/choice.42-3258","url":null,"abstract":"Asian American Poetry: The Next Generation. Edited by Victoria Chang. Urbana: University of Illinois Press, 2004. 194 pp. $19.95 If lyric poetry is the most introspective of all literary forms, the most remote from public and political concerns, how should we read lyric poems that come to us under the label of Asian American writing? Should we read a minority writers embrace of the lyric as a sign of literary maturity, a transcending of narrowly ethnic concerns and political propaganda? Should we see it as a strategic withdrawal from society, following Adorno's dictum to read social pressures as \"imprinted in reverse\" on the lyric? Should we join those who would criticize lyric poetry as an abdication of the poet's political responsibilities to his or her community? Or are such demands themselves a form of racism, denying the writer of color the same freedom we grant to white American authors of lyric? These are just some of the questions raised by the publication of Asian American Poetry: The Next Generation, a new anthology of young Asian American poets. They are the same questions addressed a decade ago by the first two major anthologies of Asian American poetry: The Open Boat: Poems from Asian America (Anchor Books, 1993), edited by Garrett Hongo, and Premonitions: The Kaya Anthology of New Asian North American Poetry (Kaya Press, 1995), edited by Walter K. Lew. These groundbreaking anthologies were conceived and published at a moment when Asian American literature, once seen as a vehicle for political goals, seemed to be embracing a wider range of aesthetic commitments. Both anthologies, in their very different ways, acknowledged and responded to this shifting landscape, placing their selections in dialogue with the history of Asian American writing. While Asian American Poetry cites these earlier collections, its lack of historical awareness may cause readers to question whether \"Asian American poetry\" has any continuing relevance as a category. Nevertheless, a few writers within its pages do offer a new kind of public lyric-one that never loses sight of the ways in which the individual consciousness is shaped by the discourses of race. Despite its sweeping title, Asian American Poetry is a slim volume with relatively modest ambitions, surveying the work of about two dozen writers under 45, whom its subtitle calls \"the next generation\" of Asian American poets. As editor Victoria Chang acknowledges in part, it has less in common with The Open Boat or Premonitions than it does with collections like American Poetry: The Next Generation, whose goal is the promotion of rising young stars. It speaks less for the Asian American community than for that familiar demographic known as Generation X. Chang is more frank than is usual about editing with an eye to the market. Asian American Poetry, she writes, is part of \"the growth of anthologies that cater to specific subgroups of readers, a development that indicates readers' strong desire for editoria","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"1 1","pages":"222"},"PeriodicalIF":0.1,"publicationDate":"2006-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71104441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"All Poets Welcome: The Lower East Side Poetry Scene in the 1960s","authors":"M. Robbins","doi":"10.5860/choice.41-0790","DOIUrl":"https://doi.org/10.5860/choice.41-0790","url":null,"abstract":"§ Daniel Kane. All Poets Welcome: The Lower East Side Poetry Scene in the 1960s. Berkeley: University of California Press, 2003. 306 pp. $27.50 Emphasizing the public performance of poetry at such now-legendary forums as St. Mark's Church and Le Metro, Manhattan's Lower East Side poetry scene in the 1960s and 70s encompassed a menagerie of poetic and political temperaments, from soi-disant revolutionaries to the relatively dapper and mannered New York School poets. The Lower East Side, now gentrified into the East Village, was a hotbed of sixties radicalism and inanity, a pseudo-bohemia of cheap rent and urban grittiness. Daniel Kane's thesis in All Poets Welcome is that \"in terms of the growing poetry scene, the Lower East Side as a neighborhood proved helpful in lending 'alternative' status to artistic production.\" The West Village, New York's prewar artistic epicenter, had ossified into an \"overpriced, bourgeois, and co-opted\" neighborhood of poseurs, while the Lower East Side retained its \"tradition of working-class radicalism and resistance.\" Into this fiery parcel flocked dozens of poets who were or would become associated with \"an increasingly established number of often ill-defined and porous poetic'schools.'\" The Beats; the \"generations\" of the New York School; Black Mountain; Deep Image; Umbra; the San Francisco Renaissance; Language: these and more were represented and in some cases formed or consolidated in the coffeehouses and other public spaces of the Lower East Side. It is no exaggeration to say that this milieu transformed American poetry-establishing the styles and ideas that continue to define our literary imagination. Kane is at his best as a social chronicler of the scene, constructing an enthralling journalistic history of the participants' antics and contradictions, rivalries and ribaldries. Some of the most interesting material in the book is pleasantly gossipy and anecdotal-none more so, for this reader, than the pages devoted to the New York School. While Charles Olson was declaiming from the mountain about the breath and kinetics, Kenneth Koch was grumbling against \"the myth, the missus, and the midterms.\" The mostly homosexual, urbane, and anti-programmatic New York School poets, with their uptown sensibilities, made many on the scene uneasy at first. While for John Ashbery, Frank O'Hara, and Koch, lunch dates and cosmopolitan conversations with the likes of Willem de Kooning were of the utmost compositional importance, self-important shamans like Jerome Rothenberg and Clayton Eshleman were trying to \"reach down among the lost branches\" to attain \"a moment of seeing\" (as Rothenberg put it). The conflict between this misty brand of romanticism and the playful, Francophile sensibilities of the New York School was typical of the internecine fractures that could result from aesthetic and political tensions among the assorted personalities and coteries on the scene. One is reminded of Kerouac's heckle (recounted in David Le","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"51 1","pages":"169"},"PeriodicalIF":0.1,"publicationDate":"2005-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71097271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From THE NATURAL HISTORY","authors":"C. Dewdney","doi":"10.3109/05678067209173972","DOIUrl":"https://doi.org/10.3109/05678067209173972","url":null,"abstract":"September heat wave evenings and gala patio receptions, waiters with sterling trays of hors-d'oeuvres beneath magnolia arbours. Sphinx moths orbit the lights over the bar. Above, misty stars faintly through city haze. High summer maximum foliage wild grape vine, virginia creeper and ivy loads the treetops oceans of leaves mounting in green banks and ledges, verdant echo of the late afternoon storm clouds above them. And she laughs, steps lightly on the sun-coined sidewalk beneath the white oaks of Wychwood. Hurricane downgraded to a tropical storm. In time-lapse radar it spirals counter-clockwise, stalled over the peninsula. A distant ocean released upon us. The wind almost saline beneath gulf-grey nimbocumulus clouds.","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"51 1","pages":"200"},"PeriodicalIF":0.1,"publicationDate":"2005-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69326760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Head and Neck","authors":"P. Puri","doi":"10.1201/B13479-20","DOIUrl":"https://doi.org/10.1201/B13479-20","url":null,"abstract":"","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"1 1","pages":"199-199"},"PeriodicalIF":0.1,"publicationDate":"2003-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65978507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From the Way by Swann's: A Passage about Bergotte","authors":"M. Proust, L. Davis","doi":"10.2307/25305015","DOIUrl":"https://doi.org/10.2307/25305015","url":null,"abstract":"Translator's note: The following passage, about the young narrator's love of the writer Bergotte, occurs about one hundred pages into The Way by Swann's (pp.92-95 in the Pleiade edition of Du cote de chez Swann). The character Bergotte, and his style of writing, are said to have been modeled at least in part by Proust on a writer much admired by him, John Ruskin, the nineteenth-century master stylist who wrote on art, architecture, and economic and social issues, and two of whose best known works are Modern Painters and The Stones of Venice. Proust himself, working with his mother, Jeanne Proust, and a young English artist, Marie Nordlinger, translated Ruskin's The Bible of Amiens and Sesame and Lilies into French. My procedure in translating Proust was to follow the original very closely, even word byword when possible, to reproduce the shape of its sentences, even including their punctuation when possible, and to avoid adding to the text, subtracting from it, or substituting my interpretations for the original. In my second and third drafts I compared my work closely with the major existing translation, C.K. Scott Moncrieff's Swann's Way. Despite the many good qualities of this translation, which has been the standard for decades, and despite the often positive effects of the revisions carried out on it by Terence Kilmartin and D.J. Enright, a close examination--which is what I gave it as I worked with it--reveals several features that point to the need for a new translation. There is a natural tendency, in translation, to inflate and overwrite, for a simple reason: you want to make a rhythmically pleasing sentence in English; often an easy way to improve the rhythm in English is by adding to or subtracting from the original; you will usually decide to add because a worse crime would be to subtract material from the original; and then if you add, you will usually choose to double or reinforce the meaning of the original rather than add new material of your own. Thus does your translation become redundant or repetitious--\"his own\" instead of \"his' \"he himself\" instead of \"he,\" \"strange and haunting\" instead of simply \"strange.\" Although on its own terms, the Scott Moncrieff translation is quite successful and, because of the sheer size of the book, an astounding achievement, it does suffer consistently from over-interpretation and inflation. In the following passage, for instance, where Proust describes the narrator's remarks as \"uninteresting,\" Moncrieff translates this more emphatically as \"quite without interest\": \"without interest\" is a good exact equivalent for sans interet, but here Moncrieff intensifies it by \"quite?' In a more significant amplification, where Proust has \"the writer's page\" Moncrieff adds a concrete image, producing \"his printed page?' Adding again, Moncrieff turns \"confidence\" into \"newfound confidence\": here he is taking what he has learned from the context (that the narrator was not confident before but is now confiden","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"48 1","pages":"108"},"PeriodicalIF":0.1,"publicationDate":"2002-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25305015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69016114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On Trevor Joyce","authors":"N. Dorward","doi":"10.2307/25305007","DOIUrl":"https://doi.org/10.2307/25305007","url":null,"abstract":"The Irish poet Trevor Joyce is a distant cousin of his novelist namesake, as I learned when a glazier repairing a window of Joyce's house, broken in a fit of rage by a mainstream poetry critic at the party that concluded an avant-garde poetry festival held in Cork, said that if he'd known of the relationship he'd have done the work for half-price. That's the work reputation can do in Ireland, and, though the tensions that led to that incident of the broken window were not exclusively literary, it does provide a fitting image for the knockabout absurdities of distinctions between \"mainstream\" and \"avant-garde\" that readers expect to hear when one reviews a poet like Trevor Joyce. Yes, they take these matters seriously in Ireland, as elsewhere--which is a pity, as such divisions are surely as slippery and unhelpful in the Irish context as they are, to my mind, in North America or the U.K. By rights there ought to be a community of interest between readers of challenging \"mainstream\" poets like Thomas Kinsella, Paul Muldoon, Medbh McGuckian, and Ciaran Carson, and readers of challenging \"avant-garde\" poets such as Joyce, Maurice Scully, Catherine Walsh, and Randolph Healy. The obstacles in the way of bridging such audiences are persistent but (I think in my more optimistic moments) not likely to be permanent in the long run, despite resistance from various quarters. (1) But I'm moving too fast, or letting my hopes distract me from the text at hand, the collected poems of an author who has now been writing for almost four decades but can still expect the response \"Who's Trevor Joyce?\" from even that sliver of the public that follows contemporary poetry. Trevor Joyce was born in Dublin in 1947. While still in his teens he met the poet Michael Smith, who, five years his senior, became an important friend and mentor. In 1967 they cofounded New Writers' Press in order to do something about what they pugnaciously diagnosed as \"the stagnancy of the Irish poetry scene relative to what had happened in the U.S. and Europe,\" with its emphasis on \"a provincial literature, unambitious in its concerns, formally conservative, and rural in its outlook.\" (2) It was an auspicious time for such a venture: NWP and its associated journal The Lace Curtain formed part of the remarkable wave of little presses and journals that changed English-language poetry in the 1960s and 1970s. NWP published a wide variety of contemporary Irish poets, including Thomas Kinsella, Pearse Hutchinson, Anthony Cronin, Paul Durcan, and Eilean Ni Chuilleanain, and a major program of international authors--Borges, Vallejo, Spicer, Neruda. The sheer diversity and ambition of NWP's activities should not be forgotten, even though it is now most closely identified with its most significant achievement: the rediscovery and republication of the 1930s generation of Irish modernists (Brian Coffey, Thomas MacGreevy, Denis Devlin, et al), of whom only Samuel Beckett was visible on canonical literary maps","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"48 1","pages":"82"},"PeriodicalIF":0.1,"publicationDate":"2002-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25305007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69015845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Alle Oder Keiner (All or No One)","authors":"Ulrich Peltzer, W. Martin","doi":"10.2307/25304946","DOIUrl":"https://doi.org/10.2307/25304946","url":null,"abstract":"In retrospect I think I must have seen her first at Schonefeld, at one of the check-in counters, as Ruhle and I and the rest of the German delegates, from Koln, Braunschweig, and Essen, were standing to the side; we had just met and introduced ourselves and were waiting for our boarding call, in German and English, rather than how it used to be in German and Russian or some other Slavic language, even if the flight was in the opposite direction-to Barcelona via Prague on CSA, the tickets you could get for unbeatable bucket-shop prices at a travel agency on Uhlandstratge run by the West-Berlin Socialist Unity Party, cheaper than the twenty-four-hour direct train, a Vietnamese man sitting next to me on the plane, a reddish-gold badge with the image of Ho Chi Minh on it pinned to the broad lapel of his suit, stoically spooning breaded fish off the aluminum foil: two-hundred-sixty marks roundtrip, or to Rome on Interflug for almost as little: once you were out of hard-currency territory or had the right passport the state-owned airlines would transport you for practically nothingnow all of that was over, gone under, swallowed up by the competition, they even renovated the airport here to conform to Western standards, with moving walkways and cocktail bars in the terminal, and no more unnecessary frisking at the security gate, or attentive reading of notes half-forgotten in a pants' pocket, I think I remember having seen her there already, in front of the new check-in counters, after Rihle had introduced me to his colleagues as a member of his research team, on tiptoe, her arms around the neck of a man whose appearance escapes me now, except that he was a little taller than she was, briefly affirming their relationship, that they would still be together, and she was wearing, if this is really what happened, her black raincoat and washed-out jeans, and had, but this I'm sure of, medium-length, reddish-brown hair, lovers, taking leave of each other, putting off their leavetaking even longer, a commonplace in airports, at train stations, before the open tailboard of ferries. Then I stopped paying attention to them, the boarding call came, and our group, together with our luggage, briefcases, and duty-free bags, began moving forward. Supported by funds from international organizations-Unesco and the EU-the Bucharest conference was intended to provide, in addition to its regular program, Romanian government officials with a view into the workings of West European forensics; they had set up special panels at which academics and jurists would be available to discuss their respective countries' legal procedures for determining a given defendant's capacity for criminal activity. In the plane I sat beside a young psychiatrist who had just finished his dissertation at the Essen Institute and had once read something of mine, an article on obstacles in assessment procedures, which he brought up, apparently interested in my work; he was scouring court proceedings f","PeriodicalId":42508,"journal":{"name":"CHICAGO REVIEW","volume":"48 1","pages":"234"},"PeriodicalIF":0.1,"publicationDate":"2002-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/25304946","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69015455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}