Read down for fascinating work on Eliot. Peter -------- Original Message -------- Subject: interesting books to review in Make It New From: Ezra Pound Society <[log in to unmask]> To: [log in to unmask] CC:
I have recently checked out the website of Johns Hopkins University Press, looking for a book I knew was due to be published. I found out that it was, together with other interesting titles that we might want to review in our magazine, Make It New. Please find them below and let me know if one of them strikes your imagination. The next number of MIN, to come out January-February is already full, I should say. The reviews would be for our later numbers in 2015 so if you’d like to review a book but can’t just now, that can be easily arranged.
Just browsing about on the JHUP site I also found out that our colleagues in the T.S. Eliot Society have just reason to be proud: the first two volumes of TSE’s Complete Prose are out in digital form. The series is in Project Muse under lock and key, so I wrote to JHUP to ask for access for reviewing purposes. They graciously granted the society a 3-month period of free access to the volumes. I would very much like to have them reviewed in Make It New, volume by volume (there are eight, in total) – I think this project is simply too good for our work to allow it to pass unnoticed. Of course, as Poundians we would be primarily interested to see how Eliot comments on EP’s work, but the site is a treasure trove, extremely valuable for our work in modernist studies.
Here is the link for your further edification:
Please let me know if you’d like to review a volume and see further proposals below.
Musical Culture and the Modernist Writer
When Stravinsky’s Rite of Spring premiered in Paris in 1913, the crowd rioted in response to the harsh dissonance and jarring rhythms of its score. This was noise, not music. In Sublime Noise, Josh Epstein examines the significance of noise in modernist music and literature. How—and why—did composers and writers incorporate the noises of modern industry, warfare, and big-city life into their work?
Epstein argues that, as the creative class engaged with the racket of cityscapes and new media, they reconsidered not just the aesthetic of music but also its cultural effects. Noise, after all, is more than a sonic category: it is a cultural value judgment—a way of abating and categorizing the sounds of a social space or of new music. Pulled into dialogue with modern music’s innovative rhythms, noise signaled the breakdown of art’s autonomy from social life—even the "old favorites" of Beethoven and Wagner took on new cultural meanings when circulated in noisy modern contexts. The use of noise also opened up the closed space of art to the pressures of publicity and technological mediation.
Collecting as Modernist Practice
Jeremy BraddockIn this highly original study, Jeremy Braddock focuses on collective forms of modernist expression—the art collection, the anthology, and the archive—and their importance in the development of institutional and artistic culture in the United States.
Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in themselves. Rather than anchoring his study in the familiar figures of the individual poet, artist, and work, Braddock gives us an entirely new account of how modernism was made, one centered on the figure of the collector and the practice of collecting.
Basil Bunting on Poetry
A close poetic ally of Ezra Pound and Louis Zukofsky, the British poet Basil Bunting is best known for his use of specific musical form in poetry. Several of his works, including his long poem Briggflatts, are in the form of the sonata. Although his language is plain, unvarnished English, his influences and models extend to Classical, Persian, and Japanese verse.
Basil Bunting on Poetry collects two series of lectures that Bunting delivered in 1968 and 1974. Tracing the development of an English poetry governed by families of stress-groups from Beowulf down to Wyatt, Wordsworth, Whitman, Pound, and Zukofsky, the lectures focus on writing and hearing poetry rather than on literary-historical concerns. Throughout, editor Peter Makin expands upon and annotates the lectures with additional comments drawn from Bunting's writings.