Margueritte S. Murphy - A tradition of subversion: the prose poem in English from Wilde to Ashbery
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A Tradition of Subversion : The Prose Poem in English From Wilde to Ashbery
author
:
Murphy, Margueritte S.
publisher
:
University of Massachusetts Press
isbn10 | asin
:
0870237810
print isbn13
:
9780870237812
ebook isbn13
:
9780585186740
language
:
English
subject
American prose literature--20th century--History and criticism, American poetry--20th century--History and criticism, Prose poems, American--History and criticism, Williams, William Carlos,--1883-1963.--Kora in hell, Stein, Gertrude,--1874-1946.--Tender b
publication date
:
1992
lcc
:
PS369.M87 1992eb
ddc
:
811/.509
subject
:
American prose literature--20th century--History and criticism, American poetry--20th century--History and criticism, Prose poems, American--History and criticism, Williams, William Carlos,--1883-1963.--Kora in hell, Stein, Gertrude,--1874-1946.--Tender b
Page iii
A Tradition of Subversion
The Prose Poem in English from Wilde to Ashbery
Margueritte S. Murphy
THE UNIVERSITY OF MASSACHUSETTS PRESS AMHERST
Page iv
Copyright 1992 by The University of Massachusetts Press All rights reserved Printed in the United States of America LC 91-40282 ISBN 0-87023-781-0 Designed by Dorothy Thompson Griffin Set in Linotron Garamond Printed and bound by Thomson-Shore
Library of Congress Cataloging-in-Publication Data Murphy, Margueritte S., 1955 A tradition of subversion : the prose poem in English from Wilde to Ashbery/by Margueritte S.r Murphy. p. cm. Includes bibliographical references and index. ISBN0-87023-781-0 (alk. paper) 1. American prose literature20th centuryHistory and criticism. 2. American poetry20th centuryHistory and criticism. 3. Prose poems, AmericanHistory and criticism. 4. Williams, William Carlos, 18831963. Kora in hell. 5. Stein, Gertrude, 18741946. Tender buttons. 6. Ashbery, John. Three poems.I. Title. PS369.M87 1992 811'.509dc20 91-40282 CIP
Acknowledgment is made for permission to reprint from the following material under copyright: "Hysteria" and "Mr. Apollinax" from Collected Poems 19091962 by T. S. Eliot, copyright 1936 by Harcourt Brace Jovanovich, Inc., copyright 1963, 1964 by T. S. Eliot, reprinted by permission of Harcourt Brace Jovanovich, Inc. and Faber and Faber.
"A Bouquet of Ten Roses" from The Man in the Black Coat Turns by Robert Bly. Copyright 1981 by Robert Bly; reprinted by permission of Doubleday, a division of Bantam Doubleday Dell Publishing Group, Inc.
"Improvisations" by William Carlos Williams from Imaginations, copyright 1970 by Florence H. Williams; reprinted by permission of New Directions Publishing Company.
"The Young Son" from Some Trees, copyright 1956 by John Ashbery, published by The Ecco Press in 1978 and reprinted with permission.
Portions of Chapters 4 and 5 appeared in slightly different versions as " 'Familiar Strangers': The Household Words of Gertrude Stein's Tender Buttons" in Contemporary Literature and as "John Ashbery's Three Poems: Heteroglossia in the American Prose Poem," American Poetry 7.2 (1990).
Page v
To Brian
Page vii
Contents
Acknowledgments
ix
Introduction
1
1 The Prose Poem as a Decadent Genre
9
2 "Out on a Limn": The Prose Poem's Tradition of Subversion
61
3 William Carlos Williams's Kora in Hell: A Genre of Improvisation
96
4 Gertrude Stein's Tender Buttons: Beyond Description: A New Domestic Language
137
5 John Ashbery's Three Poems: Prose and the Poetics of Inclusion
168
Conclusion
198
Notes
203
Works Cited
233
Index
241
Page ix
Acknowledgments
I would like to thank, first of all, Helen Vendler, whose invaluable direction, attentive readings, and unfailing encouragement contributed enormously to the writing of the dissertation that formed the basis of this book. I am also grateful to Barbara Johnson for her sympathetic readings and helpful responses and suggestions and to Richard Sieburth for his assistance and encouragement in the early stages of the dissertation.
I have also benefited from fellowships from the Sheldon Fund of Harvard University and from the Lurcy Foundation for my research and study abroad. This funding enabled me to study in Paris and attend seminars given by Tzvetan Todorov and Grard Genette that contributed to my thinking on the theoretical aspects of my subject.
Special thanks, too, to the friends and colleagues who have generously read and commented on this manuscript in part or as a whole at various stages, especially John Tagliabue, Carole Taylor, Robert Crooks, and Mike Frank. I have benefited from the wisdom and support of other friends through conversation; Michael Berthold, Mary Gossy, Jeanne Heifetz, and Mark Sandona deserve particular recognition here. Further thanks for the lively and stimulating discussions afforded by my colleagues at Bentley College in the Literary Criticism Discussion Crew. I am grateful, too, to Bruce Wilcox of the University of Massachusetts Press for his interest and assistance and to Brenda Hanning for her meticulous editing of the manuscript in its final stages.
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