The Poetics of the Everyday: Creative Repetition in Modern American Verse PDF
Preview The Poetics of the Everyday: Creative Repetition in Modern American Verse
//////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// The Poetics of t he Everyday //////////////////////////////// /////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////// Siobhan Phillips T h e P o et i c s o f t h e E v e ry day Creative Repetition in Modern American Verse Columbia University Press New York Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2010 Columbia University Press All rights reserved Library of Congress Cataloging- in- Publication Data phillips, siobhan, 1978– the poetics of the everyday: creative repetition in modern American verse / siobhan phillips. p. cm. includes bibliographical references and index. isbn 978-0-231-14930-3 (cloth : alk. paper)—isbn 978-0-231-52029-4 (e-book) 1. american poetry—20th century—history and criticism. 2. repetition in literature. 3. repetition (rhetoric) 4. frost, robert, 1874–1963—technique. 5. stevens, wallace, 1879–1955— technique. 6. bishop, elizabeth, 1911–1979—Technique. 7. merrill, james ingram—Technique. I. title. ps310.R45p55 2010 811'.009—dc22 2009023398 Columbia University Press books are printed on permanent and durable acid- free paper. This book is printed on paper with recycled content. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 References to Internet Web sites (URLs) were accurate at the time of writing. Neither the author nor Columbia University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. for Brian contents Ac know ledg ments ix Introduction: The Poetics of Everyday Time 1 1. The Middle Living of Robert Frost 31 2. The Faithful Mode of Wallace Stevens 71 3. The Everyday Elegies of Elizabeth Bishop 113 4. The Cosmic Dawnings of James Merrill 155 Conclusion: Everyday Pasts and Everyday Futures 199 Notes 223 Bibliography 275 Index 299 ac know ledg ments i would not have begun this book, much less finished it, without the help of many people. David Bromwich and Langdon Hammer provided insightful, detailed advice in readings and conversations from the beginning of my thoughts to the end of my revisions. Pericles Lewis has been an equally generous source of good thoughts and counsel. Others who read drafts, discussed ideas, and helped with practicalities include Leslie Brisman, Stephen Burt, Jill Campbell, Wes Davis, Elizabeth Maddock Dillon, Wai Chee Dimock, Paul Fry, Christopher R. Miller, Lloyd Pratt, and John Rogers. I owe much to the gracious assistance of these scholars and others. I am grateful to all my family members for their understanding during the long span of research and composition as well as for many specifi c in- stances of help: Sheila Peiff er and Steven Peiff er read portions of the text, Christopher Peiff er provided vital advice at a crucial juncture, Caleb Peiff er was always ready with useful wisdom about the writing pro cess. Prudence Peiff er’s insights and editing saved me from errors while leading me to bet- ter analysis. Throughout work on this book, the friendship of Matthew Mutter, Patrick Redding, and Kathryn Reklis both sharpened my ideas and refreshed my enthusiasms. I thank Emily Setina for her considerate reading as well as for our many enriching talks about poetry, biography, and twentieth- century literature. To Robert McGill—clear-e yed and empathetic about literary scholarship as well as so much else— I am steadily grateful.
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