By Lorine Niedecker
"The Brontës had their moors, i've got my marshes," Lorine Niedecker wrote of flood-prone Black Hawk Island in Wisconsin, the place she lived so much of her existence. Her lifestyles through water, as she referred to as it, couldn't were extra faraway from the avant-garde poetry scene the place she additionally made a house. Niedecker is among the most vital poets of her new release and a vital member of the Objectivist circle. Her paintings attracted excessive compliment from her peers--Marianne Moore, William Carlos Williams, Louis Zukofsky, Cid Corman, Clayton Eshleman--with whom she exchanged life-sustaining letters. Niedecker was once additionally a huge lady poet who interrogated problems with gender, domesticity, paintings, marriage, and sexual politics lengthy ahead of the fashionable feminist move. Her marginal prestige, either geographically and as a girl, interprets right into a significant poetry.
Niedecker''s lyric voice is among the such a lot refined and sensuous of the 20 th century. Her ear is continually alive to sounds of nature, oddities of vernacular speech, textures of vowels and consonants. frequently in comparison to Emily Dickinson, Niedecker writes a poetry of wit and emotion, cosmopolitan experimentation and down-home American speech.
This much-anticipated quantity offers all of Niedecker''s surviving poetry, performs, and artistic prose within the series in their composition. It contains many poems formerly unpublished in ebook shape plus all of Niedecker''s surviving Nineteen Thirties surrealist paintings and her 1936-46 people poetry, bringing to mild the formative experimental levels of her early occupation. With an creation that provides an account of the poet''s lifestyles and notes that offer distinct textual info, this e-book often is the definitive reader''s and scholar''s version of Niedecker''s paintings.
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Body. as It is if in order not to In the doorway something is I can thrown divide myself in different pieces? I in feel is melting and that my ego anymore. Everything pulls me apart. the only possible means of keeping the different pieces without poise, that disappears and that together. voli- thought and action: be trampled on. Everything me, bursts —of the and of the sense of is do not I personality exist no connection between the different parts of my body. , its ability to think and decide and will to do, is torn apart by itself.
Yet this criterion problematic. What, after tive quality or only And if all, is "bizarreness"? Does an absence, the lack of some is itself designate some posi- difficult-to-define norm? — we accept schizophrenia as but an ad hoc category of phenomena whose only common feature is their deviance from the latter, must potpourri it the standard human form of life? INTRODUCTION 26 The can can also be criticized for criterion we know its overly subjective nature. — function of the patient rather than of something in the explainer the elasticity of his interpretive concepts, his empathic ability to find schizoid to How that understanding (the finding of "intelligible relations") elements within himself?
Both tendencies are inspired by the modern realization of the observer's role in both creating and curtailing the world of perception, a realization usually traced to Immanuel Kant's demonstration, at the turn of the ninelytic cubist paintings the Fury and teenth century, of the central role of the human human subject, in particular of the "categories of understanding," in the constitution of Clement Greenberg (The critic tion, almost the exacerbation, of this identifies knowledge. " 77 Dehumanization, or the Disappearance of the Active Self The development twentieth century of what has seemed a higher in the human sophistication about consciousness has been accompanied, oddly enough, by a certain fragmentation and passivization, by a sense of unity and of its loss of the self's capacity for effective or voluntary action; this has gone along with an ethic of impersonality that contrasts sharply with the romantic cult of the One self.