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Winner of the Ezra Pound Society Book Prize 2014 Ezra Pound's
sustained use of ancient and medieval philosophical sources,
particularly those within the Neoplatonic tradition, is well known.
Yet the specific influence of the ninth-century theologian Johannes
Scottus Eriugena on Pound's poetry and prose has received limited
scholarly attention. Pound developed detailed plans to publish a
commentary on Eriugena alongside his translations of two of the
books of Confucianism, plans that ultimately went unrealised.
Drawing on unpublished notes, drafts and manuscripts amongst the
Ezra Pound papers held at Yale University, this book investigates
the pivotal role of Eriugena in Pound's thought and, perhaps
surprisingly, in his deployment of non-Western philosophical
traditions.
Gerald Murnane is one of Australia's most important contemporary
authors, but for years was neglected by critics. In 2018 the New
York Times described him as "the greatest living English-language
writer most people have never heard of" and tipped him as a future
Nobel Prize winner.Gerald Murnane: Another World in This One
coincides with a renewed interest in his work. It includes an
important new essay by Murnane himself, alongside chapters by
established and emerging literary critics from Australia and
internationally. Together they provide a stimulating reassessment
of Murnane's diverse body of work.
Written during the Italian winter of 1930, The Blue Spill is an
unfinished detective novel written by Ezra Pound - the leading
figure of modernist poetry in the 20th century - and his long-time
companion Olga Rudge. Published for the first time in this
authoritative critical edition, the novel reflects both Rudge's and
Pound's voracious reading of popular fiction as it echoes and
parodies such writers as Agatha Christie, Dorothy L. Sayers and
P.G. Wodehouse. Based on the original manuscripts of the novel,
this critical edition includes annotation and textual commentary
throughout. The book also includes critical essays exploring the
contexts of the work, from the dynamics of artistic collaboration
to the growing popularity of detective fiction at the beginning of
the 20th century. Taken together, this unique publication sheds new
light on the relationship between the literary avant-garde and
popular culture in the modernist period.
Winner of the Ezra Pound Society Book Prize 2014 Ezra Pound's
sustained use of ancient and medieval philosophical sources,
particularly those within the Neoplatonic tradition, is well known.
Yet the specific influence of the ninth-century theologian Johannes
Scottus Eriugena on Pound's poetry and prose has received limited
scholarly attention. Pound developed detailed plans to publish a
commentary on Eriugena alongside his translations of two of the
books of Confucianism, plans that ultimately went unrealised.
Drawing on unpublished notes, drafts and manuscripts amongst the
Ezra Pound papers held at Yale University, this book investigates
the pivotal role of Eriugena in Pound's thought and, perhaps
surprisingly, in his deployment of non-Western philosophical
traditions.
Written during the Italian winter of 1930, The Blue Spill is an
unfinished detective novel written by Ezra Pound - the leading
figure of modernist poetry in the 20th century - and his long-time
companion Olga Rudge. Published for the first time in this
authoritative critical edition, the novel reflects both Rudge's and
Pound's voracious reading of popular fiction as it echoes and
parodies such writers as Agatha Christie, Dorothy L. Sayers and
P.G. Wodehouse. Based on the original manuscripts of the novel,
this critical edition includes annotation and textual commentary
throughout. The book also includes critical essays exploring the
contexts of the work, from the dynamics of artistic collaboration
to the growing popularity of detective fiction at the beginning of
the 20th century. Taken together, this unique publication sheds new
light on the relationship between the literary avant-garde and
popular culture in the modernist period.
Samuel Beckett's Geological Imagination addresses the ubiquity of
earthy objects in Beckett's prose, drama and poetry, exploring how
mineral and archaeological objects bear upon the themes, narrative
locus, and sensibilities of Beckett's texts in surprisingly varied
ways. By deploying figures of ruination and excavation with
etymological self-awareness, Beckett's late prose narratives -
Company, Ill Seen Ill Said, and Worstward Ho - comprise a
late-career meditation on the stratigraphic layerings of language
and memory over an extended writing career. These layers comprise
an embodied record of writing in their allusions to literary
history and to Beckett's own oeuvre.
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