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Dayton - Muriel rukeysers the book of the dead

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Dayton Muriel rukeysers the book of the dead
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The Book of the Dead by Muriel Rukeyser was published as part of her 1938 volume U.S.1. The poem, which is probably the most ambitious and least understood work of Depression-era American verse, commemorates the worst industrial accident in U.S. history, the Gauley Tunnel tragedy. In this terrible disaster, an undetermined number of menlikely somewhere between 700 and 800died of acute silicosis, a lung disorder caused by prolonged inhalation of silica dust, after working on a tunnel project in Fayette County, West Virginia, in the early 1930s.After many years of relative neglect, The Book of the Dead has recently returned to print and has become the subject of critical attention. In Muriel Rukeysers The Book of the Dead, Tim Dayton continues that study by characterizing the literary and political world of Rukeyser at the time she wrote The Book of the Dead. Rukeysers poem clearly emerges from 1930s radicalism, as well as from Rukeysers deeply felt calling to poetry. After describing the world from which the poem emerged, Dayton sets up the fundamental factual matters with which the poem is concerned, detailing the circumstances of the Gauley Tunnel tragedy, and establishes a framework derived from the classical tripartite division of the genresepic, lyric, and dramatic. Through this framework, he sees Rukeyser presenting a multifaceted reflection upon the significance, particularly the historical significance, of the Gauley Tunnel tragedy. For Rukeyser, that disaster was the emblem of a history in which those who do the work of the world are denied control of the vast powers they bring into being.Dayton also studies the critical reception of The Book of the Dead and determines that while the contemporary response was mixed, most reviewers felt that Rukeyser had certainly attempted something of value and significance. He pays particular attention to John Wheelwrights critical review and to the defenses of Rukeyser launched in the 1980s and 1990s by Louise Kertesz and Walter Kalaidjian. The author also examines the relationship between Marxism as a theory of history governing The Book of the Dead and the poem itself, which presents a vision of history.Based upon primary scholarship in Rukeysers papers, a close reading of the poem, and Marxist theory, Muriel RukeysersThe Book of the Dead offers a comprehensive and compelling analysis of The Book of the Dead and will likely remain the definitive work on this poem.

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Copyright 2003 by The Curators of the University of Missouri First paperback - photo 1

Copyright 2003 by
The Curators of the University of Missouri
First paperback printing, 2015
University of Missouri Press, Columbia, Missouri 65201
Printed and bound in the United States of America
All rights reserved
5 4 3 2 1 19 18 17 16 15

Cataloging-in-Publication data available from the Library of Congress

ISBN 978-0-8262-2063-9

Picture 2 This paper meets the requirements of the American National Standard for Permanence of Paper for Printed Library Materials, Z39.48, 1984.

Designer: Jennifer Cropp
Typesetter: Bookcomp, Inc.
Typefaces: Palatino, Vendome, Bodoni

ISBN-13: 978-0-8262-6314-8 (electronic)

For my mother and father

Acknowledgments

I have had the help of countless people in the years since I began working on The Book of the Dead; none of them are responsible for this books shortcomings, nor for the positions I take up. The staff of the Interlibrary Services department of Hale Library, Kansas State University, was consistently cheerful and efficient in tracking down obscure material. The special-collections librarians of the University of Delaware; Brown University; Syracuse University; the Library of Congress; and the Berg Collection, New York Public Library, provided me with invaluable assistance. In particular, Stephen Crook of the Berg Collection provided help in the early stages of the project, when I was still feeling my way. Beverly Jarrett, Jane Lago, and Gary Kass of the University of Missouri Press oversaw the transformation of my manuscript into a book with great professionalism and care. Finally, by way of institutional acknowledgments, Kansas State University provided me with a much-needed sabbatical midway through the project, as well as a research grant that made it possible for me to meet Muriel Rukeysers son and literary executor, William, and to study those papers of hers that he has kept in his possession.

Several classes of undergraduate and graduate students at Kansas State University have been subjected both to my general obsessionsto which all my students are liableand to my obsessions specific to The Book of the Dead, and I thank them for indulging me. In particular I found the comments and questions of Sarah Caldwell, Jim Hohenbary, and Kirsten Young of use as I was developing my thoughts about Rukeysers poem. A former student, David Kruger, served ably as a research assistant, saving me a good deal of time and money that would have been spent on travel. Mary Siegle, secretary of the Department of English, cheerfully provided very timely assistance with typing.

I was given information that proved helpful in the construction of my argument by William Rukeyser and Alan Wald, both of whom were uncommonly generous. I am indebted also to a number of individuals who readall or part of this book in manuscript form. Donna Potts and Larry Rodgers read an early essay version and provided valuable comments that showed me some possible lines of development I could follow once I decided that my project was book-length in scope. The anonymous readers for the Journal of Modern Literature, as well as editor-in-chief Morton Levitt, provided valuable suggestions and criticisms that improved the essay I eventually published in that journal. I use portions of that essay, Lyric and Document in Muriel Rukeysers The Book of the Dead (Journal of Modern Literature 21:2 [Winter 1997]: 22340), in this book. Jamie Owen Daniel and Jerry Dees read the first manuscript version of this book and gave me countless valuable suggestions at a point when I was incapable of seeing my own work clearly anymore. My anonymous readers at the University of Missouri Press also helped me to improve the manuscript considerably, and I am grateful for their efforts.

Finally, I would like to thank members of my family. My mother and father, Shirley and William Dayton, provided various kinds of support through the years that made it possible for me to get to the point where I could actually do something like write a book. My uncle, Cliff Dayton, was an intelligent, well-read man without the benefit of higher education; he helped provide the impetus for this book through his example and through his insistence when I was young that I get as much education as I could stand. My wife, Angela Hubler, patiently read virtually every version of this work with a fine combination of rigor and generosity. She was always there when I needed her, which was often. Our two children, Neil and Jack, provided no such help (although they did occasionally ask how I was doing, once they got old enough) and no doubt added years to the time it took to finish the thing. They, however, provided their own form of help: those all-important games of marbles, Lego-building sessions, and late-afternoon soccer practices that kept what I was doing in perspective, in more ways than one.

Introduction

Following many years of relative neglect and obscurity, Muriel Rukeysers The Book of the Dead has recently been returned to print and become the subject of critical attention. This book continues that trend, though I began work on it before the recent spate of interest began to manifest itself. I taught The Book of the Dead to a mixed undergraduate and graduate student class on American Literature, 19101950 at Kansas State University in the fall semester, 1993. I had become aware of the poem because of a talk by Cary Nelson at the 1989 convention of the Modern Language Association, and had determined to teach it the first chance that I got. At that time there was very little published on the poem, so I was forced to do nearly all the primary critical work myself. I had no sooner made a beginning on this than I realized that there was an enormous amount and variety of such work to be done, and to that work I have devoted much of my research time over the past nine years.

After these years of working on The Book of the Dead I have concluded that it stakes out a distinctive and important position in modern poetry, and more specifically within the leftist tradition in modern poetry. The most efficient way I can think to make this distinctive quality clear is by relating it to two different, and in many ways opposing, traditions in leftist letters, that of Bertolt Brecht and that of Theodor Adorno. By understandinghowever schematicallyThe Book of the Dead within these traditions, one may see that the poems political significance and its aesthetic and formal significance, while not identical, are at least closely related and mutually reinforcing.

The Book of the Dead may be related to the poetic project of Brechtand I refer specifically to the poetic project, as opposed to the not-unrelated He attempted in his poetry to achieve something different from this, to create a speaking subject whose being derived from the outside as much as from the inside; or rather, a speaking subject in whom the interrelation of inside and outside would be dynamic and meaningful. By allowing the outside world, the world of historical experience, to have a meaningful place within lyrical speech, Brecht attempted to produce a poetry free from what he saw as the ideological characterand self-indulgenceof the modern lyric, which rendered it essentially conservative in character. Readers familiar with Brechts poetry will, I hope, agree with this description, whether or not they share my opinion that on the whole Brecht came remarkably near achieving what he aimed for.

What Brecht distrusted, Adorno redeemed; the isolated lyric speaker emerges from Adornos Lyric Poetry and Society as a nearly heroic figure, both preserving social experience in the only form in which it is

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