Kastner's Jaune Quick-to-See Smith: An American Modernist
is a thoughtful and intelligent volume that represents a brilliant meditation on one of our most important contemporary artists.
Indeed, the choice of the exhibition's title suggested that the work needs no such validation; it was not titled Carroll Cloar: American Modernist
, but Carroll Cloar and the American South, suggesting the primacy of the artist's subject matter.
However, it did not exclude the works of American modernist
poets and seemed to set out to give the target reader a relatively broad and balanced picture of modern American poetry.
Like a previous artist in the countdown, American Modernist
poet Wallace Stevens spent most of his life working as an executive for an insurance company in Hartford, Connecticut.
From Caribbean seascapes and landscapes to New York's buildings, this offers a broad selection of his work and is accompanied by three essays that discuss Sanchez in relation to the Latin American art community, American modernist
movements and homosexual creative artists alike.
For instance, in his analyses of Yiddish American modernist
poetry, Finkin makes the point that "American individualism allowed for intimate investigations of Jewish discursive language, while European universalism tended to obscure or submerge precisely that" (p.
Cleophas and His Own" is a powerful and poignant elegy written by American modernist
painter and poet Marsden Hartley to ease his grief over the death of the young man who had been the great love of his life.
Michael North, whose two towering works The Dialect of Modernism: Race, Language and Twentieth-Century Literature (1994) and Reading 1922: A Return to the Scene of the Modem (1999) have contributed indelibly to the contemporary landscape of American modernist
criticism, has gone so far as to see this difficulty as a measure of modernist innovation itself: "Attempts to formulate a unified formalist definition of modernism have always run afoul of the fact that modernism ceaselessly creates forms and in so doing confounds critical desires for formal consistency" (1999, 209).
Published in 1923, two years prior to that great American modernist
literary output of 1925 that saw the printing of Fitzgerald's The Great Gatsby, Hemingway's In Our Time, and Cather's The Professor's House, Broun's novel needs to be discussed alongside these other great works of the modernist canon.
In describing the British and American Modernist
writers' rejection of the idea of progress, Williams never mentions their relation to nineteenth-century positivism.
Whereas the American modernist
is concerned with universal despair, Dragojlovic's anxiety and gloom are caused by the war that infests his country with death: "And death / master of oblivion / spreads castles under the earth / because there is / nothing left above it.
Pavlic identifies two main strands of African American literary modernism: "Afro-modernism," which exhibits close affinities with European and American modernist
concerns and is predominantly solitary; and "diasporic modernism," which seeks alternatives that emphasize the communal.
Many were misunderstood and had their work misinterpreted by writers who identified the artists' inspiration as Mexican or as an abstraction from the American modernist
Aaron Douglas: African American Modernist
, Smithsonian American Art Museum, May 9-Aug.
More than one critic compared Messud's prose to that of Henry James, American modernist
and novelist of manners at the turn of the last century.