Green Order: Wallace Stevensâ€™s Jazz music Experiments
Corey M. Taylor
Journal of Modern Literature, Amount 32, Number 2, Winter 2009, pp. 100-117 (Article) Printed by Indianapolis University Press DOI: 15. 1353/jml. 0. 0048
For added information about this information
Access Provided by Purdue University in 08/22/12 4: 11PM GMT
Blue Order: Wallace Stevens's Jazz Experiments
Corey Meters. Taylor
Rose-Hulman Institute of Technology
Wallace Stevens, among America's most recognizable modernist poets, segregated himself coming from social, personal, cultural, as well as aesthetic centre of the modernist era. His aloofness despite, modern tenets such as meditations on actuality, debates about culture, and experimentation with music take place in Stevens's beautifully constructed wording. Critics often , and appropriately, align the musical attributes of Stevens's verse with classical occasion. This article areas the musicality of Stevens's poetry in a jazz framework, and disagrees that poems from during his profession — particularly in Harmonium (1923) and Ideas of Purchase (1936) — contain brighten elements and is read as jazz text messages. Stevens uses linguistic repetitions, thematic variants, improvisatory flourishes, allusions, and wordplay that indicate the influence and presence of jazz, without mentioning the music by brand. Ultimately, Stevens can be considered a poet who have experimented with jazz, giving his work added sonic and contextual vibration. Keywords: Wallace Stevens / modernism / jazz / poetry as well as improvisation
n 1900, a degree from Harvard available, Wallace Stevens lived in Reduced Manhattan and worked the graveyard change at the Nyc Tribune. He enrolled in Ny Law School in 1901, graduated in 1903, joined up with the New York bar in 1904, and traded rules for the business in 1908 (Kermode and Richardson 960–61). Despite his formal education and employment, Dahon lived like a bohemian over these years. This individual attended and wrote performs, immersed himself in governmental policies, and consumed a good deal. Inside the 1910s, he established relationships with modernist artists and critics which include William Carlos Williams, Marcel Duchamp, Carl Van Vechten, and Walter Conrad Arensberg. These and other individuals first exposed Dahon to cubism and surrealism, movements which in turn Glen MacLeod claims greatly impacted Stevens's development as being a poet (58). 1 Therefore began certainly one of twentieth-century literature's double lives: Wallace Dahon — insurance provider man and inventive modernist poet. Incongruously, when he was at his twenties, Stevens wrote little of anything and published zero poetry. This individual did, yet , develop a great affinity for starters of the early on twentieth century's most well-known musical designs. According to Linda DuRose,
Blue Buy: Wallace Stevens's Jazz Experiments
following leaving Harvard " the young Stevens. �. �. was minted by the lively tempos and irregular rhythms of a new style of music played by simply African Americans” (7). DuRose refers to ragtime, the immediate precursor of punk, which is perhaps the quintessential American (and modernist) art form. Living and doing work in New York City provided Stevens with several opportunities to listen to ragtime and early on jazz, and to establish cable connections with music artists and other music artists. Indeed, equally ragtime and jazz may have a definite effect on Stevens's beautifully constructed wording. It must be stated, though, that associating Dahon and his assist ragtime, punk, or any part of African American culture presents particular problems. Though his initially collection, Harmonium, appeared in 1923 — the same yr as Jean Toomer's Cane unofficially initiated the Harlem Renaissance — little evidence exists that Stevens experienced any involvement in or companionship with youthful African American artists. C. Craig Chabot amazing things how Stevens could remain detached by authors and socio-aesthetic moves that lived in this kind of close distance to him (142). Rachel Blau DuPlessis echoes Chabot's...
Cited: True blessing, Richard Allen. Wallace Stevens' " Entire Harmonium. ” Syracuse: Syracuse UP, 1970. Chabot, C. Barry. Copy writers for area: American Fictional Modernism. Tuscaloosa: U of Alabama S, 1997. Crawford, Richard. An Introduction to America's Music. Ny: Norton, 2001. Doreski, Bill. " Fictive Music: The Iridescent Notes of Wallace Stevens. ” The Wallace Stevens Log 20. you (1996): 55–75. DuPlessis, Rachel Blau. Genders, Races and Religious Civilizations in Contemporary American Poems, 1908–1934. Cambridge Studies in American Materials and Traditions 125. Gen ed. Ross Posnock. Cambridge, UK: Cambridge UP, 2001. DuRose, Bela. " Ethnic Domain and the Imagination of Wallace Stevens. ” The Wallace Dahon Journal 22. 1 (1998): 3–22. Ehrenpreis, Irvin. " Strange Connection: Stevens' non-sense. ” Wallace Stevens: A Celebration. Education. Frank Doggett and Robert Buttel. Princeton: Princeton UP, 1980. 219–34. Feinstein, Sascha. Jazz Poems: From the 1920s to the Present. Efforts to the Study of Music and Party 44. Westport, CT: Greenwood P, 97.
Blue Purchase: Wallace Stevens's Jazz Trials
Harel, Kay. " Again is an Zusammenstellung einander widersprechender begriffe: William James's Ideas upon Repetition and Wallace Stevens' ‘Sea Surface area Full of Clouds'. ” The Wallace Stevens Journal 26. 1 (2002): 3–14. Hertz, David Eileen. Angels of Reality: Emersonian Unfoldings in Wright, Dahon, and Ives. Carbondale: Southern Illinois UP, 1993. Sherlock holmes, Barbara. The Decomposer's Art: Ideas of Music in the Poetry of Wallace Stevens. New Connections: Studies in Interdisciplinarity 1 ) Gen ed. Shirley Paolini. New York: Philip Lang, 1990. Horowitz, Joseph. " New World Symphony and Discord. ” The Share Review 11 Jan 08: B18–B19. Jenkins, Lee Maggie. Wallace Dahon: Rage pertaining to Order. Brighton, UK: Sussex Academic G, 2000. Kermode, Frank, and Joan Richardson. " Chronology. ” Collected Poetry and Prose. By simply Wallace Dahon. New York: Library of America, 1997. 959–69. Linebarger, David M. " On Experiencing Modern Music in Stevens' Poetry. ” The Wallace Stevens Journal 22. 1 (1998): 57–71. McFadden, George. " Probings for a great Integration: Color Symbolism in Wallace Dahon. ” Modern Philology 49. 3 (1961): 186–93. MacLeod, Glen. Wallace Stevens and Modern Art: From the Ermine Show to Abstract Impressionism. New Destination, CT: Yale UP, 1993. North, Michael. The Language of Modernism: Race, Language, and Twentieth-Century Literature. Race and American Culture 1 ) Gen eds. Arnold Rampersad and Shelley Fisher Fishkin. New York: Oxford UP, year 1994. Rosu, Nalga. The Metaphysics of Appear in Wallace Stevens. Tuscaloosa: U of Alabama G, 1995. Snead, James A. " Repeating as a Physique of Dark-colored Culture. ” Black Literature and Literary Theory. Impotence. Henry Louis Gates, Junior. London: Methuen, 1984. 59–79. Rpt. in The Jazz Cadence of American Culture. Ed. Robert G. O'Meally. New York: Columbia UP, 1998. 62–81. Matorral, Michael. The Modernist Nation: Generation, Renaissance, and Twentieth-Century American Literary works. Tuscaloosa: U of Alabama P, 2004. Stegman, Michael O. " Wallace Dahon and Music: A Discography of Stevens' Phonograph Record Collection. ” The Wallace Stevens Log 3. 3–4 (1979): 79–97. Stevens, Wallace. Collected Beautifully constructed wording and The entire. Sel. and ed. Outspoken Kermode and Joan Richardson. New York: Catalogue of America, 1997. ———. " Jacket Statement from Ideas of Order. ” Opus Posthumous: Poems, Plays, Prose. Modified, Expanded, and Corrected education. Ed. Milton J. Bates. New York: Retro, 1990. 222–23.