- 6 x 9.
- 12 B&W photographs.
Add to Cart
- $29.95 U.S.
The American Poet at the Movies: A Critical History presents a series of case studies that shows how poets perceived the new technology of cinema as a rival threatening to their prestige, but also as a sister art deserving of encouragement. Each chapter places a key poem at the center and takes up the issues arising from the engagement of these two art forms, such as the poets' mixed feelings about living in a national culture dominated by visual media. Whether it is Hart Crane writing on Chaplin, Delmore Schwartz on Marilyn Monroe, Frank O'Hara on James Dean, or Louise Erdrich on John Wayne, poets have made sense of their own time by reference to film icons and values shared by all Americans thanks to the dream factory, Hollywood.
As an increasingly popular genre of modern poetry, and one that permits a unique view of this century's dominant art form, the movie poem has needed an explanatory book like this one. As cinema and television continue to wield extraordinary influence over the lives of all Americans, the efforts of poets to understand the visual culture will come to be appreciated as central to the task of modern and postmodern literature. This critical history is an important and timely contribution to the study of American literature and American institutions.
Chapter 1: An American Millennium: Vachel Lindsay and the Poetics of Stargazing 19
Chapter 2: Hart Crane: Speaking the Mot Juste in the Age of Silents 39
Chapter 3: Cut on Movement: Archibald MacLeish and the Temptations of Cinematic Form 59
Chapter 4: Winfield Townley Scott and Delmore Schwartz: Halving Reality and Watching It Too 83
Intermission: The Day of the Locust as a Rite of Passage 109
Chapter 5: Karl Shapiro, "An American Jew and a Poet": Looking toward New Zion in the Golden State 125
Chapter 6: "The Audience Vanishes": Frank O'Hara and the Mythos of Decline 151
Chapter 7: "The New Poet Is at the Movies": Adrienne Rich and the New Wave 177
Chapter 8: "Mama How Come Black Men Don't Get to Be Heroes?": Colorizing American Experience 201
Chapter 9: Fin de Siecle: Jorie Graham and the Rites of Self-Renewal in a Culture of Film 225
Conclusion: "We're All You Know": Television and Personal History 249