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Prelude By Margaret Phillips. Foreword By Francis Tournier.
Illustrated By Merle Armitage And P. G. Napolitano.
This collection includes portraits by Edward Weston, George
Gershwin, and Schoenberg himself, plus candid camera photographs by
Otto Rothschild and two ink drawings by Carlos Dyer.
From "a dirty hand":Words are very powerful. You aren't sure of
that? Think of all the things you won't say.*Wonderful remark in a
note I had this week from William Carlos Williams. He spoke of the
"disease" of wanting to write poetry; said he had been "off" poetry
for many months and-he said-"I feel clean and unhappy."*One reason
for keeping this kind of notebook: you can put on record the retort
you couldn't think of at last night's party.*Photographs of Henry
James in his middle years should be commented upon. Gone is the shy
aesthete of the youthful portrait (by LaFarge?) . This bearded man
has a fierce look, even a bestial one. Here is perhaps-I don't
know-James at his most generative. Again this man disappears in the
shaven, bald, final James, the famous James-the Grand Lama.*I
noticed when Lindsay (thirteen) read aloud a passage from a hunting
book the other day he pronounced "genital" as "genteel." I'd love
to see a literary history titled "The Genital Tradition."*Contrast
"business ethics" and the ethics of art. Nobody writes a poem
hoping it will wear out in four or five years.Between 1951 and 1966
the distinguished American poet Winfield Townley Scott kept a
series of notebooks in which he set down his thoughts on poetry,
literature, the literary scene, and life in general. Shortly before
his untimely death in 1968 he made a selection of the entries he
thought were best and gave it the title "a dirty hand." These
perceptive notes, some tart, some gentle, some boisterous, some
wistful, give us a remarkable insight into the workings of his
creative mind. George P. Elliott has said of Scott: "In a very
solid way, I think he was as rock-bottom American a poet as we have
had since Frost." The introduction is by Scott's good friend Merle
Armitage, who also designed the original edition of this book.
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