“The End of Art” - ETD - University of Notre Dame

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CHAPTER 3. AUTOBIOGRAPHY AND DOCUMENTS 3.1) A Documentary Life ............................................................................................................... 129 3.2) Howe’s Working Sketchbooks .............................................................................................. 141 3.3) “I Can Re / Trace / My Steps”: Finding Stella and Cordelia ........................................... 167 CHAPTER 4. HISTORICAL FIGURES FOR AN AVANT-GARDE 4.1) “I Would Be… As…” ........................................................................................................... 189 4.2) <strong>“The</strong> Archaeology We Are”: Olson’s Archetypal Inheritance ......................................... 196 4.3) “In the Grace <strong>of</strong> Scholarship”: My Emily Dickinson and Howe’s Scholarly Prose.............................................................................................................................. 214 4.4) “Only the Human Exists”: An Emersonian Conclusion ................................................. 237 POSTSCRIPT: NEW AUTOBIOGRAPHY .................................................................................... 251 BIBLIOGRAPHY................................................................................................................................. 263 iii
FIGURES Figure 2.1..................................................................................................................88 Figure 2.2................................................................................................................109 Figure 2.3................................................................................................................128 Figure 3.1................................................................................................................143 Figure 3.2................................................................................................................144 Figure 3.3................................................................................................................145 Figure 3.4................................................................................................................146 Figure 3.5................................................................................................................147 Figure 3.6................................................................................................................161 Figure 3.7................................................................................................................163 iv
Page 1 and 2: THE INHERITED SELF: AUTOBIOGRAPHY A
Page 3 and 4: THE INHERITED SELF: AUTOBIOGRAPHY A
Page 5: CONTENTS FIGURES...................
Page 9 and 10: the twentieth century sets a patter
Page 11 and 12: ACKNOWLEDGMENTS Foremost let me ext
Page 13 and 14: INTRODUCTION: THE INHERITED SELF
Page 15 and 16: Autobiography becomes a matter of i
Page 17 and 18: the century, they have mounted a pe
Page 19 and 20: impersonal, but one could argue tha
Page 21 and 22: scholars to compare and contrast ho
Page 23 and 24: mythical sources in The Maximus Poe
Page 25 and 26: inheritance as the full historical
Page 27 and 28: ecause of cryptic references to a p
Page 29 and 30: CHAPTER 1. AN ARS POETICA OF AUTOBI
Page 31 and 32: Pound was putting his full energy i
Page 33 and 34: Pound’s use of history in writing
Page 35 and 36: Even the best readers of Zukofsky h
Page 37 and 38: Zukofsky not only thought of Adams
Page 39 and 40: the element of the personal diffuse
Page 41 and 42: his patron’s wants. The tailor’
Page 43 and 44: almost rococo—and unable to catch
Page 45 and 46: of conceptual systems or structures
Page 47 and 48: egin at the beginning. Thus far it
Page 49 and 50: Autobiography, as he comes to see,
Page 51 and 52: made more apparent in the adjacent
Page 53 and 54: Pound has made the discovery that a
Page 55 and 56: sentiments as his early lyrical per
Page 57 and 58:
effect? The question is whether the
Page 59 and 60:
Pound has not abandoned his essenti
Page 61 and 62:
imagine and their officers have mor
Page 63 and 64:
fact that the “body intact and fo
Page 65 and 66:
historical poetics. In this respect
Page 67 and 68:
1.6) Susan Howe’s “Historical I
Page 69 and 70:
It should not be surprising if this
Page 71 and 72:
guide and protect her. She is surro
Page 73 and 74:
supposed to give him a far superior
Page 75 and 76:
stories is historical determinism.
Page 77 and 78:
air’; to some preoccupation of it
Page 79 and 80:
CHAPTER 2. SUSAN HOWE IN THE 1970S
Page 81 and 82:
his writing he invokes the tautolog
Page 83 and 84:
unity rather than tension in its fo
Page 85 and 86:
And I saw no temple therein: for th
Page 87 and 88:
simple paintings; simplicity was th
Page 89 and 90:
then von Schlegell or the interview
Page 91 and 92:
discussed in “The End of Art,”
Page 93 and 94:
Classicists are people that look ou
Page 95 and 96:
Smithson understands the world acco
Page 97 and 98:
2.3) “A Clutter of Characters and
Page 99 and 100:
Although the main body of the poem
Page 101 and 102:
Howe describes Reinhardt’s comics
Page 103 and 104:
If the only goal of this chapter we
Page 105 and 106:
One question is why she cites both
Page 107 and 108:
American lineage, often at the expe
Page 109 and 110:
eligious history in her later poems
Page 111 and 112:
accessible passes roman forest crag
Page 113 and 114:
Language is cited again in the last
Page 115 and 116:
if the cogito is forced to constant
Page 117 and 118:
in which her work would have a read
Page 119 and 120:
the context of the Cold War and the
Page 121 and 122:
FIGURE 2.2 India Wharf Sculpture is
Page 123 and 124:
Howe’s sister, was one of the edi
Page 125 and 126:
why in “Boston Harbor” the read
Page 127 and 128:
All external marks of abuse are pre
Page 129 and 130:
oth in poetry and in prose, is all
Page 131 and 132:
whimper no far pillar for the world
Page 133 and 134:
Once again David von Schegell enter
Page 135 and 136:
female mariner. She has survived de
Page 137 and 138:
Henry James (1843-1916) once charac
Page 139 and 140:
near a blank space pointed to by tw
Page 141 and 142:
CHAPTER 3. AUTOBIOGRAPHY AND DOCUME
Page 143 and 144:
method most vigorously hostile to t
Page 145 and 146:
that events must be “set in motio
Page 147 and 148:
the documents because the history i
Page 149 and 150:
elating to her husband as well as t
Page 151 and 152:
writing about Gaudier, but rather t
Page 153 and 154:
elow, Howe identifies her inheritan
Page 155 and 156:
143 FIGURE 3.1
Page 157 and 158:
145 FIGURE 3.3
Page 159 and 160:
147 FIGURE 3.5
Page 161 and 162:
sketchbooks also reveal Howe’s lo
Page 163 and 164:
same kind of personal quote is foun
Page 165 and 166:
esult (or peril as some might see i
Page 167 and 168:
Rel. Ex. / Praise to the End - Roet
Page 169 and 170:
her own efforts. In the following,
Page 171 and 172:
The central problem in life is to a
Page 173 and 174:
161 FIGURE 3.6
Page 175 and 176:
163 FIGURE 3.7
Page 177 and 178:
have of beginnings. As I read it, H
Page 179 and 180:
quest. In the next section, I look
Page 181 and 182:
Donald Hall (two on Marianne Moore)
Page 183 and 184:
can be brought together and / gone
Page 185 and 186:
one who strove his utmost to champi
Page 187 and 188:
Punning / A Discourse to Prove the
Page 189 and 190:
contemptible than to suppose public
Page 191 and 192:
But here is the problem: a cry, (1)
Page 193 and 194:
autobiography of an inherited self
Page 195 and 196:
sketchbook, which unlike others, ha
Page 197 and 198:
Beneath it Howe writes: “Why I li
Page 199 and 200:
But I think the community in which
Page 201 and 202:
CHAPTER 4. HISTORICAL KNOWLEDGE AND
Page 203 and 204:
does he want to be “looking / for
Page 205 and 206:
few potshots taken at the “academ
Page 207 and 208:
can have no meaning but the escape
Page 209 and 210:
Préface” (1946), “Bigmans” (
Page 211 and 212:
and ungainly—sprawled every which
Page 213 and 214:
Mayan Letters), and the essays “P
Page 215 and 216:
to find how those facts or laws det
Page 217 and 218:
The New Empire, and he was rereadin
Page 219 and 220:
For the first time—right now—ma
Page 221 and 222:
found in his review of a book by a
Page 223 and 224:
“What we need is more of the text
Page 225 and 226:
exterior forces, such as by culture
Page 227 and 228:
“my king” before a sovereign en
Page 229 and 230:
with Dickinson will surely be in th
Page 231 and 232:
upbringing, through the medium of S
Page 233 and 234:
could see a corresponding inheritan
Page 235 and 236:
“possible identity” of the reci
Page 237 and 238:
Eternity dawned Solitary watcher of
Page 239 and 240:
anticipates the statement in My Emi
Page 241 and 242:
participating in these and other sm
Page 243 and 244:
a woman writer. Unlike Olson, for e
Page 245 and 246:
has a primacy that can never be who
Page 247 and 248:
structures or that they were intend
Page 249 and 250:
constitutive of, the world, which i
Page 251 and 252:
the point, this figure has never be
Page 253 and 254:
audience should imitate or idolize
Page 255 and 256:
are recognized. “As plants conver
Page 257 and 258:
when, were he in his shoes before u
Page 259 and 260:
Pound. This is unlike how Lowell ch
Page 261 and 262:
Howe is probably not responding dir
Page 263 and 264:
POSTSCRIPT: NEW AUTOBIOGRAPHY I'm t
Page 265 and 266:
sense of autobiography, or new auto
Page 267 and 268:
existing identity, whether it is th
Page 269 and 270:
she says, “we were ‘living’ p
Page 271 and 272:
individual but rather of the limite
Page 273 and 274:
Wal*mart Gap McDonald’s J. Crew K
Page 275 and 276:
BIBLIOGRAPHY Adorno, Theodore W. Pr
Page 277 and 278:
Dickinson, Emily. The Poems of Emil
Page 279 and 280:
Mallarmé, Stéphane. Mallarmé: Se
Page 281 and 282:
Quartermain, Peter. Disjunctive Poe
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