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Journal articles on the topic 'Susan Howe'

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Published: 4 June 2021

Last updated: 27 April 2022

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1

Donahue, Joseph. "Acousmatic Orphism: Susan Howe." CounterText 7, no. 3 (December 2021): 394–420. http://dx.doi.org/10.3366/count.2021.0243.

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In this essay Joseph Donahue uncovers the Orphic ambitions of Susan Howe's 2010 volume of poetry, That This, especially as manifested in the poet's collaboration with the composer David Grubbs in the recording of a poem from that volume, ‘Frolic Architecture’. To account for the use of free-floating syllabic sound as an intensification of the Orphic concerns of the poem in the recording, the essay turns at first to the origin of acousmatic sound and its proposed relations to ancient mystery cults: composer and sound theorist Pierre Schaeffer claimed that to hear sound without seeing its source placed the listener in a position comparable to that of an initiate in the cult of Pythagoras. Drawing on Brian Kane's 2014 study of the origins of musique concrète (which incorporates recorded sounds) in the postwar period, Sound Unseen, this piece claims the acousmatic not only for Pythagoras but for Orpheus. It is argued that an Orphic poetics rooted in the acousmatic comes to full fruition in late Howe. Howe's own evocations of Pythagoras, and her own mythologising of the acousmatic, are examined, especially in regard to her collage method which so often and so momentously conceals or removes the visual origin of sounded syllables. The collaboration with composer David Grubbs intensifies the acousmatic poetics of Howe's text, and it is suggested, is the poem's ultimate realisation.

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2

Swensen, Cole. "The Quarry by Susan Howe." Wallace Stevens Journal 40, no. 2 (2016): 233–35. http://dx.doi.org/10.1353/wsj.2016.0032.

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3

Keller, Lynn, and Susan Howe. "An Interview with Susan Howe." Contemporary Literature 36, no. 1 (1995): 1. http://dx.doi.org/10.2307/1208952.

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4

Albert Gelpi. "Emily Dickinson’s Long Shadow: Susan Howe & Fanny Howe." Emily Dickinson Journal 17, no. 2 (2008): 100–112. http://dx.doi.org/10.1353/edj.0.0185.

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5

Howe, S. "Susan Howe: Selections from Bedhangings 2." Literary Imagination 5, no. 1 (January 1, 2003): 93–94. http://dx.doi.org/10.1093/litimag/5.1.93.

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6

Mulford, Wendy. "Susan Howe: A reading of the evidence." Women: A Cultural Review 4, no. 1 (March 1993): 60–62. http://dx.doi.org/10.1080/09574049308578146.

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7

Soubbotnik, Michael A. "La poétique antinomienne de l'histoire chez Susan Howe." Revue Française d'Histoire des Idées Politiques 26, no. 2 (2007): 141. http://dx.doi.org/10.3917/rfhip.026.0141.

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8

Nicholls, Peter. "Unsettling the Wilderness: Susan Howe and American History." Contemporary Literature 37, no. 4 (1996): 586. http://dx.doi.org/10.2307/1208773.

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9

Allen, Edward. "‘Visible Earshot’: The Returning Voice of Susan Howe." Cambridge Quarterly 41, no. 4 (December 1, 2012): 397–421. http://dx.doi.org/10.1093/camqtly/bfs020.

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10

Arnold, David. "‘Another Kind of Writing’: Off-road with Susan Howe." Life Writing 6, no. 1 (April 2009): 127–31. http://dx.doi.org/10.1080/14484520802550460.

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11

Sandler, Stephanie. "Rhythms, Networks: Caroline Levine Meets Susan Howe and Marina Tsvetaeva." PMLA/Publications of the Modern Language Association of America 132, no. 5 (October 2017): 1226–31. http://dx.doi.org/10.1632/pmla.2017.132.5.1226.

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whoosh, hum. Imagine that sound, like an air vent cycling on. It circulates fresh air, the fresh air of poems that breathe into our lungs, whether we are standing in the Titian Room at the Isabella Stewart Gardner Museum or reading the poems on a porch, looking out on a summer day. You will not find a description of that sound in the pages of Susan Howe's book Debths, only the phrase “Titian Air Vent.” Its rush of phonemes energizes the whole. he verbal rhythms and the visual patterns respond to its acoustic energy, pulsating across the different parts of the book, creating not so much a hierarchy of theories or subtexts as an interlocking and interwoven set of patterns that spread out on every page—in irregular or fragmentary form, in neat prose paragraphs, and in blocks of verse. In Debths, where so much depends on sound orchestration, verbal transformations, and visual arrangements, the networks connecting sight and sound are always being tightened, loosened, playfully intensified. Whole, rhythm, hierarchy, network. These are Caroline Levine's terms, here embedded in my account of Debths. What might a book like Howe's, drawing on many aesthetic modes but built on the foundation of poetry, ask of Levine's Forms, a remarkable theoretical intervention whose many examples are nearly all narrative?

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12

Hollywood, Amy. "“That Book's Been Read ”: Surface and Depth, Reading with Susan Howe." Publications of the Modern Language Association of America 133, no. 5 (October 2018): 1243–50. http://dx.doi.org/10.1632/pmla.2018.133.5.1243.

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“That Book's been Read,” the Poet Susan Howe said this about a copy—my copy—of her book, that this, it has been mauled, spine not quite broken but on the verge, phrases scored under and over, words circled, passages marked with vertical lines, gnarled questions to myself from myself in handwriting only I can read. Program leaflets scrawled with notes are tucked between the endpaper and the back cover and transparent sticky tabs peak up over the top and out from the sides. The only thing I won't do is turn down the corner of a page. Everything else is fair game and the more I care about a book, the more abuse it gets. Fortunately Howe understands.

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13

Conniff, Brian, and Peter Quartermain. "Disjunctive Poetics: From Gertrude Stein and Louis Zukofsky to Susan Howe." American Literature 65, no. 3 (September 1993): 590. http://dx.doi.org/10.2307/2927407.

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14

Harack, Katrina. "Representing Alterity: The Temporal Aesthetics of Susan Howe and Charles Olson." Canadian Review of American Studies 43, no. 3 (January 2013): 433–61. http://dx.doi.org/10.3138/cras.2013.023.

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15

Jenkins, Lee M. "“A poem is a letter”: Stevens, Thomas McGreevy, and Susan Howe." Wallace Stevens Journal 44, no. 2 (2020): 225–37. http://dx.doi.org/10.1353/wsj.2020.0024.

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16

Simpson, Megan. "Led by Language: The Poetry and Poetics of Susan Howe (review)." Criticism 44, no. 3 (2002): 312–14. http://dx.doi.org/10.1353/crt.2003.0008.

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17

Perloff, Marjorie. ""Collision or Collusion with History": The Narrative Lyric of Susan Howe." Contemporary Literature 30, no. 4 (1989): 518. http://dx.doi.org/10.2307/1208613.

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18

Ma, Ming-Qian. "Articulating the Inarticulate: Singularities and the Counter-Method in Susan Howe." Contemporary Literature 36, no. 3 (1995): 466. http://dx.doi.org/10.2307/1208830.

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19

Huang, Yunte. "Ten Plus Ways of Reading Charles Bernstein: Improvisations on Aphoristic Cores." boundary 2 48, no. 4 (November 1, 2021): 255–78. http://dx.doi.org/10.1215/01903659-9382300.

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Abstract Composed as a series of improvisations, this is a modular essay that examines, ponders, and responds to the radical poetics of Charles Bernstein's work from multiple perspectives, including dysraphism, aphorism, wit, and echopoetics. It also situates Bernstein in the long tradition of innovative American poetics extending from Ezra Pound and Gertrude Stein to Charles Olson and Susan Howe.

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20

WILL, MONTGOMERY. "Susan Howe's Renaissance Period: Metamorphosis and Representation in Pythagorean Silence and Defenestration of Prague." Journal of American Studies 40, no. 3 (November 22, 2006): 615–33. http://dx.doi.org/10.1017/s0021875806002155.

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The American poet Susan Howe is perhaps the best-known of the generation of poets that came to attention under the banner of “language poetry.” Her work has been widely anthologized and it has drawn a considerable amount of critical commentary. The “language” label, like most such tags, was unpalatable to most of the poets who came under it. It did after all mask a diverse range of poets. But, even given such reservations, it was clear from the start that Howe's poetry was out of step with certain general tendencies within language poetry. We know from the correspondence that Ron Silliman was criticized by some language poets for including Howe in his influential 1986 anthology In the American Tree. In a 1985 letter to Howe, Silliman expresses his reading of the relation between her work and language poetry: I do think one of the most important aspects of this writing [i.e. language writing], from the perspective of literary history if nothing else, is that it is anti-romantic, anti-mystical and anti-lyric (tho there are exceptions …) And your writing does seem to me to be at odds with this larger tendency. How you work with this tension in your poetry seems to me one of its most compelling dimensions.

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21

Stutesman, Drake. "Without Words, What Are Facts?: Looking at Susan Howe Looking at Marker." Framework: The Journal of Cinema and Media 53, no. 2 (2012): 429–66. http://dx.doi.org/10.1353/frm.2012.0018.

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22

Jones, Jessica Eileen. "Reseña de Estratos de una voz femenina estadounidense Susan Howe, (1993) Middletown, CT: Wesleyan University Press, 208 páginas." La Aljaba 20 (December 1, 2016): 367–270. http://dx.doi.org/10.19137/la-2016-v2019.

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23

Dydo, Ulla E. "Disjunctive Poetics: From Gertrude Stein and Louis Zukofsky to Susan Howe. Peter Quartermain." Modern Philology 92, no. 3 (February 1995): 390–94. http://dx.doi.org/10.1086/392260.

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24

Mossin, Andrew. "Led by Language: The Poetry and Poetics of Susan Howe (review)." Partial Answers: Journal of Literature and the History of Ideas 1, no. 2 (2003): 178–83. http://dx.doi.org/10.1353/pan.0.0058.

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25

Williams, Megan. "Howe Not to Erase(Her): A Poetics of Posterity in Susan Howe's "Melville's Marginalia"." Contemporary Literature 38, no. 1 (1997): 106. http://dx.doi.org/10.2307/1208854.

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26

Diepeveen, Leonard. "Disjunctive Poetics: From Gertrude Stein and Louis Zukofsky to Susan Howe by Peter Quartermain." ESC: English Studies in Canada 21, no. 3 (1995): 368–69. http://dx.doi.org/10.1353/esc.1995.0033.

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27

Swirski. "American Pragmatism and Poetic Practice: Crosscurrents from Emerson to Susan Howe By Kristen Case." Transactions of the Charles S. Peirce Society 48, no. 3 (2012): 396. http://dx.doi.org/10.2979/trancharpeirsoc.48.3.396.

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28

Schepers, Jacob. "“Correction of Disfigurements”: Rhetoric, Lyric, and the Rewritten Histories of Susan Howe and Geraldine Monk." Contemporary Women's Writing 12, no. 1 (January 29, 2018): 31–48. http://dx.doi.org/10.1093/cww/vpx034.

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29

Wilkinson, Jessica L. ""Out of Bounds of the Bound Margin": Susan Howe Meets Mangan in Melvile's Marginalia." Criticism 53, no. 2 (2011): 265–94. http://dx.doi.org/10.1353/crt.2011.0010.

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30

Phillis, Jen Hedler. "The way we mean now: on the poetics of Susan Howe, Lyn Hejinian, and Occupy Wall Street." Textual Practice 31, no. 7 (November 7, 2016): 1199–216. http://dx.doi.org/10.1080/0950236x.2016.1237988.

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31

Finkelstein, Norman. "“MAKING THE GHOST WALK ABOUT AGAIN AND AGAIN”: History as Séance in the Work of Susan Howe." Lit: Literature Interpretation Theory 20, no. 3 (August 31, 2009): 215–40. http://dx.doi.org/10.1080/10436920903167502.

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32

Castiglione, Davide. "Difficult poetry processing: Reading times and the narrativity hypothesis." Language and Literature: International Journal of Stylistics 26, no. 2 (May 2017): 99–121. http://dx.doi.org/10.1177/0963947017704726.

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This study presents an experiment that uses reading times as a measure of the processing effort demanded by ‘difficult’ poems, where difficulty is defined as a text-driven response phenomenon associated with resistance to reading fluency. Reading times have been used before to explore the processing of literature, but seldom with the aim of shedding light on difficulty. There is then scope to redress this research gap, also in light of Shklovsky’s claim that the technique of art is ‘to increase the difficulty and length of perception’. In the current experiment, a group of participants read six poems on-screen. The poems are by Mark Strand, Ezra Pound, Wallace Stevens, Geoffrey Hill, Susan Howe and Jeremy Prynne, and have been selected based on critics’ remarks on their difficulty or lack thereof. An extract from a novel by JG Ballard was also included to find out how its narrativity would compare, in processing terms, to the more elliptical narrativity of Strand’s and Pound’s poems. The time spent on each line was recorded by software E-Prime, commonly used in psycholinguistics. The results indicate that three of these texts – Ballard’s, Strand’s and Pound’s – were read at a much higher speed than non-narrative poems by Stevens, Hill, Prynne and Howe. The proposed explanation was that it is sufficient for readers to recognize traces of a narrative schema to read the text fluently, even if such text is low in coherence. By contrast, when prototypical narrative features cannot be mapped onto a text, the processing effort as measured by reading times remarkably increases. Overall, the results refine our understanding of the relationship between difficulty and the stylistic strategies associated with it.

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33

Meachen, Clive. "Peter Quartermain, Disjunctive Poetics: from Gertrude Stein and Louis Zukofsky to Susan Howe (Cambridge: Cambridge University Press, 1992, £35). Pp. 238. ISBN 0 521 41268 4." Journal of American Studies 28, no. 1 (April 1994): 130–31. http://dx.doi.org/10.1017/s0021875800026852.

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34

Mendelssohn, Anna, and Sara Crangle. "What a Performance." PMLA/Publications of the Modern Language Association of America 133, no. 3 (May 2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.

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From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.

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35

Leon, W. "Public History: An Introduction. Edited by Barbara J. Howe and Emory L. Kemp and Presenting the Past: Essays on History and the Public. Edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig." Journal of Social History 21, no. 2 (December 1, 1987): 327–35. http://dx.doi.org/10.1353/jsh/21.2.327.

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36

Gerrick, Kristin Jenkins. "An Inquiry into Unionizing Home Healthcare Workers: Benefits for Workers and Patients." American Journal of Law & Medicine 29, no. 1 (2003): 117–38. http://dx.doi.org/10.1017/s0098858800002355.

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Susan Carter has not been feeling well for days. She would like to see a doctor about her chest pain and wheezing, but Susan knows that missing work will leave her client without a replacement and, worse, she could be fired. Susan is a home healthcare worker in Illinois. Like many of her fellow workers, Susan has no health insurance and cannot afford to risk losing her job by going to see a doctor.Often, Susan feels unable to handle the constant stress of her job. She helps her clients bathe and dress, prepares their meals and assists them with their medications and housekeeping. Susan travels by bus daily to care for two to five clients. She carries a pager day and night in case a client needs help with a plugged catheter or another emergency. Susan often has to work seven days a week, and she steps in to care for patients whose caregivers have left for better-paying jobs.

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37

Kubota, Akira. "A Yen for Profit: Canadian Financial Institutions in JapanRichard W. Wright with Susan Huggett Halifax: Institute for Research on Public Policy, 1987, pp. xxii, 99 - Canadian-Japanese Economic Relations in a Triangular PerspectiveWendy Dobson ed. Montreal: C. D. Howe Institute, 1987, pp. vi, 54." Canadian Journal of Political Science 21, no. 2 (June 1988): 400–402. http://dx.doi.org/10.1017/s000842390005650x.

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38

Moran, James M. "Susan Mogul: At Home in Los Angeles." Wide Angle 20, no. 3 (1998): 133–43. http://dx.doi.org/10.1353/wan.1998.0037.

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39

Gewin, Virginia. "Susan Avery, president and director, Woods Hole Oceanographic Institution, Woods Hole, Massachusetts." Nature 450, no. 7169 (November 2007): 582. http://dx.doi.org/10.1038/nj7169-582a.

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40

Page, Susan. "U.S. Race Relations and Foreign Policy." Michigan Journal of Race & Law, no. 26.0 (2021): 77. http://dx.doi.org/10.36643/mjrl.26.sp.us.

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It is easy for Americans to think that the world’s most egregious human rights abuses happen in other countries. In reality, our history is plagued by injustices, and our present reality is still stained by racism and inequality. While the Michigan Journal of International Law usually publishes only pieces with a global focus, we felt it prudent in these critically important times not to shy away from the problems facing our own country. We must understand our own history before we can strive to form a better union, whether the union be the United States or the United Nations. Ambassador Susan Page is an American diplomat who has faced human rights crises both at home and abroad. We found her following call to action inspiring. We hope you do too.

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41

Sabol, Valerie K., Susan M. Kennerly, Jenny Alderden, Susan D. Horn, and Tracey L. Yap. "Insight Into the Movement Behaviors of Nursing Home Residents Living With Obesity: A Report of Two Cases." Wound Management & Prevention 66, no. 5 (May 6, 2020): 18–29. http://dx.doi.org/10.25270/wmp.2020.5.1829.

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42

Ondeck, D. M. "Introducing Susan S. Niewenhous." Home Health Care Management & Practice 14, no. 3 (April 1, 2002): 239–40. http://dx.doi.org/10.1177/10848220222188499.

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43

Ondeck, Deborah Mariano. "Introducing Susan S. Niewenhous." Home Health Care Management & Practice 14, no. 3 (April 2002): 239–40. http://dx.doi.org/10.1177/108482230201400316.

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44

Al Areqi, Rashad Mohammed Moqbel. "Reshaping Indigenous Identity of Palestinian People/Place." Advances in Language and Literary Studies 9, no. 6 (December 28, 2018): 133. http://dx.doi.org/10.7575/aiac.alls.v.9n.6p.133.

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Palestinian narrative comes to reflect the reality of a nation under dislocation, Diaspora, and reshaping the indigenous identity. The Palestinian narratives always attempt to show part of the Palestinian suffering and struggling under the Israeli occupation. This study traces the life of a family, it is Abulheja’s during three generations as presented by Susan Abulhawa’s “While the World Sleeps” as the title of Arabic version, and it has other versions in English entitled ‘Mornings in Jenin’ or ‘Scar of David’, (2006). The study addresses the postcolonial concepts of dislocation, Diaspora, exile and reshaping the Palestinian identity of people/place in Susan Abulhawa’s “Mornings in Jenin”, it is a story of a Palestinian family living in the refugees’ camp of Jenin from 1948 to the beginning of the third millennium, 2002. It does not only represent the life of Abulheja’s family, it is a story of a nation, living in the refugees’ camp: Jenin refugees’, being strangers, even in their home. Many members of the family are killed, and many members of Palestinians’ identity are reshaped to avoid killing while a large group of Palestinians leave their country to America to fulfill the American dream of hope and happiness, and freedom and fairness as expected. However, their Journey to America and Europe may not help them to forget their traumatic past or start a new life away of nostalgic/collective memory and homeliness. The result showed the suffering and struggling of the Palestinian families, lacking the urgent needs of daily life. The study found the Jewish state worked on reshaping the cultural, religious, national, political and indigenous identity of the Palestinian people/place to fulfill their expansionist project of politico-historical domination, giving no serious considerations to the particularities of the indigenous people. The narrative showed that the indigenous identity of Palestinians had been reshaped and a lot of them left their home to places safer to live as strangers, away of their home.

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45

Michie, Elsie B. "Imperialism at Home: Race and Victorian Women's Fiction. Susan Meyer." Modern Philology 97, no. 2 (November 1999): 304–6. http://dx.doi.org/10.1086/492856.

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46

Zeller, Suzanne. "John William Dawson: Faith, Hope, and Science. Susan Sheets-Pyenson." Isis 88, no. 1 (March 1997): 151–53. http://dx.doi.org/10.1086/383663.

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47

Birchall, Ian. "Victor Serge: The Course Is Set on Hope SUSAN WEISSMAN." Historical Materialism 11, no. 3 (2003): 235–55. http://dx.doi.org/10.1163/156920603770678409.

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48

Giles, Susan. "Startingout - student susan giles learned from her first home visit." Nursing Standard 19, no. 21 (February 2, 2005): 27. http://dx.doi.org/10.7748/ns.19.21.27.s36.

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49

Hales, Shelley. "At Home with Cicero." Greece and Rome 47, no. 1 (April 2000): 44–55. http://dx.doi.org/10.1093/gr/47.1.44.

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This paper is concerned with reassessing the importance of the destruction of the house of Cicero in the light of recent investigations into housing in the Roman world. In recent years, the quantity and quality of such investigations have intensified but Cicero's house remains somewhat unpopular – despite excavations on the Palatine slopes which have revealed more details of the houses occupied by Cicero and his Late Republican neighbours.3 The saga of Cicero and his house had not been dealt with for several decades until the presidential address of Susan Treggiari in the 1998 Transactions of the American Philological Association. Her paper, however, is not so much concerned with the actual relationship between private and public in the house of Cicero as Cicero's private and public attempts to come to terms with his grief over the death of his daughter Tullia.

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50

Carlson, Susan. "Comic Collisions: Convention, Rage, and Order." New Theatre Quarterly 3, no. 12 (November 1987): 303–16. http://dx.doi.org/10.1017/s0266464x00002451.

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How can the socially critical aspects of comedy be reconciled with a ‘happy ending’ which seems to affirm the existing order of things? This perennial problem has become acute in a period when both playwrights and comic performers are increasingly conscious of the dangers inherent in the stereotyping – racial, sexual, and hierarchical – on which so much comedy depends. In this article, Susan Carlson looks at some recent ‘meta-comedies’ which have used the form, as it were, to expose itself – notably, Trevor Griffiths's Comedians, Peter Barnes's Laughter, Susan Hayes's Not Waving, and Caryl Churchill's Cloud Nine – and analyzes their responses to comedy, which range from the despairing to the affirmative. She concludes that only Churchill has found a positive way of ‘connecting the painful recognitions of twentieth-century dissociations to comic hope’. Susan Carlson is Associate Professor of English at lowa State University. In addition to numerous articles on modern drama and the novel, she has published a full-length study of the plays of Henry James, and is currently working on a book about women in comedy.

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