¡Bemsha SWING!

20 may 2005

Silliman's Blog: "... any history of American painting of the last century that doesn't put Warhol on the same plane ultimately with Pollock isn't credible, I would think, just as one that tried to place Rothko or Rauschenberg on that same plateau would not be credible."

I guess I just don't agree that there are these two planes, and that one's credibility depends on placing these painters on these two "planes" in the way that Silliman suggests. Rothko belongs on the same "plane" with Pollock and DeKooning and Fairfield Porter. Rauschenberg belongs on the same "plateau" as Warhol. I'm not saying that the respective merits of these painters cannot be debated. In fact, I'm saying that the respective merits of these figures should be debated, and that the results of this debate cannot be pre-empted with talk of a "credible" position. Ron's earlier dismissal of Rodin as Romantic Kitsch leads me to believe that he is not a credible guide to the visual arts.

The comment boxes in Ron's blog, by the way, are ridiculous. If I drew such a low caliber of comments I would cut them off in a heart beat. It might be a problem of having too many readers.

4 comentarios:

Anónimo dijo...: I actually deleted one obscene one today and have thought about requiring everyone to register (to minimize on the anonymouses (if that's a word),

Unreliable in the visual arts,

Ron; 3:36 p. m.
Jonathan dijo...: ___

I've just been over to your blog, and it looks like you've already cut off the anonymice. Curtis Faville will have to get a blogger account now.; 5:18 p. m.
Emily Lloyd dijo...: That's the sentence that stopped me, too.

And, well, many are commenting at Silliman's more to get noticed than to engage in discussion. Did I mention I'm not wearing panties?

You've made me feel pedestrian for liking your poem in The Hat...; 5:59 p. m.
Jonathan dijo...: ___

Emily:

Although the poem does have an autobiographical subject "I," it also employs parody, cento, macaronic verse, prose-poetry, palinode, and constraints. (For example, one section consists of a series of 8-word poems.) In short, you are free to like this poem without sacrificing your postmodern hipness.; 7:08 p. m.

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Blurbs & Reviews

"Jonathan Mayhew’s new work belongs to a certain class of surprising books: those so obviously necessary once they appear that it apparently required a stroke of genius to come up with the idea for them."

--Daniel Katz

"Jonathan Mayhew's Lorca is less the distinctive Spanish poet, whose murder in 1936 marked the beginning of the Civil War, than he is an American invention. From the 1940s to the end of the century, our poets have invoked Lorca-in translation, of course-as a Romantic, exotic, radical, and, in many cases, gay icon-the poet of mystery and the duende. The Lorca myth, Mayhew argues persuasively, has enriched American lyric, but it has also been an obstacle to a more adequately grounded understanding of Spanish poetry in the 20th century. Apocryphal Lorca is revisionist criticism at its most acute."

-Marjorie Perloff

"Enhanced by copious notes and an excellent bibliography, this book offers a perceptive, intriguing assessment of the Garcia Lorca created by the postwar generation of American poets." (Choice )

"Mayhew is a critic who is at the top of his game; he combines a breadth of knowlege of the field with acute analysis."

--John C. Wilcox, University of Illinois at Urbana-Champaign

"Let me just cut through all the usual, boring book review preliminaries and say the following thing: Jonathan Mayhew has, in Apocryphal Lorca, written an amazing book. "

--Brandon Holmquest, Calque

"The great merit of Mayhew's study is his sustained effort to document and interrogate Lorca's reception, unique among American encounters with foreign literatures in its nature and extent."

--Lawrence Venuti, TLS.

"Se trata de Jonathan Mayhew y su extraordinario estudio Apocryphal Lorca. Translation, Parody, Kitsch. Esta obra se ocupa no de García Lorca sino de cómo los escritores estadounidenses han reinventado a Lorca, desde Spicer y Rothenberg hasta O’Hara y Koch. Asimismo, es una discusión de la Deep Image —¡cuánto hay que desmenuzar de ese capítulo!— y la manera en que la poética norteamericana se ha apropiado de lo lorqueano (o lorcaesco) y del concepto de lo 'otro' que éste representa. Éste es un libro repleto de sutilezas, de tesis, apuntes, datos."

--Heriberto Yépez

"Apocryphal Lorca, sin embargo, es mucho más que un estudio de las vidas posteriores de Lorca en la poesía americana entre principios de los años 50 y 70. También ofrece un acercamiento histórico a la traducción de su obra, descubriendo reseñas de prensa significativas y discurriendo acerca de reconocimientos críticos. El texto es elegante y fresco; el análisis amplio e históricamente específico."

--María Delgado, Revista de Literatura

¡Bemsha SWING!

20 may 2005

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