A Quote by Cate Marvin
I admire the poetic relationship to place as enacted in Wallace Stevens' poems; his poetics strikes me as an argument against the restraints of realism.
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I am completing a book I began back in 2002 called 'Poems in the Manner of.' 'The Matador of Metaphor' is from this manuscript. It is an homage to Wallace Stevens that appropriates certain of his techniques.
I was influenced by the Beats because I actually just began to commit adolescence around 1955, when "Howl" and Rebel Without a Cause and a lot of other new things were popping up. (Again I'm trying to give you a finite version of this career.) And then I came under the sway of Wallace Stevens when I was in college and graduate school, and basically set as a life goal the ambition of writing third-rate Wallace Stevens. I thought I would be completely content if I was recognized at some later point in my life as a third-rate Wallace Stevens.
If he who employs coercion against me could mould me to his purposes by argument, no doubt he would. He pretends to punish me because his argument is strong; but he really punishes me because his argument is weak.
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
I turn now
not to the Bible
but to Wallace Stevens.
While Max appears to greatly admire Wallace as a writer and feel compassion for him as a man, he is never starry-eyed, or pulls his punches. Every Love Story is a Ghost Story is as illuminating, multifaceted, and serious an estimation of David Foster Wallace's life and work as we can hope to find.
Some of the poetic writers who insert passages of realism in their texts have no underlying philosophy to uphold them, and revert to realism.
Wallace Stevens: the Platonist celebrates endless change, but with regret.
Wallace Stevens had more time to write as an insurance agent. He was a bond lawyer and I know that insurance company lawyers don't have to do nearly as much as we had to do. We were out more in the production area. I'm not condemning Stevens for having had a better job than I did, but that's one of the many places where I differ from him.
However, I had a chance encounter with an admissions officer of Stevens Institute of Technology, who so impressed me by his erudition and enthusiasm for the school that I changed course and entered Stevens Institute.
Everyone enjoys stories of double lives and secret identities. Children have Superman; intellectuals have Wallace Stevens.
The argument for liberty is not an argument against organization, which is one of the most powerful tools human reason can employ, but an argument against all exclusive, privileged, monopolistic organization, against the use of coercion to prevent others from doing better.
David Foster Wallace was a brilliant experimentalist who I deeply admire. His ability to do formalism helped me understand how to tackle stories like "Dictionary" and "Failed Revolution." "Dictionary," in particular, functions against narrative in many ways - each of the definitions are their own mini-story or prose poem, and the collection of them adds up to create a different effect than the traditional Freytagian Pyramid story.
When I first heard Wallace Stevens voice, it was by chance: a friend wanted to listen to the recording he had made for the Harvard Vocarium Series.
When I first heard Wallace Stevens' voice, it was by chance: a friend wanted to listen to the recording he had made for the Harvard Vocarium Series.
I write to get myself writing. That and read Wallace Stevens' "An Ordinary Evening in New Haven" for the umpteenth time. Certain authors for me, certain books, just by reading a phrase I feel I can write.
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