Vendler helen editor introduction (5 risultati)

Hardcover. Condizione: Brand New. 1152 pages. 9.50x6.75x2.25 inches. In Stock.

Hardcover. dj. First Edition, First Printing. Octavos. In very Good condition with Very Good dust jackets. Dust jackets protected with mylar coverings, prices uncut: "USA $49.95" on both. Mild general shelf wear overall. CONTENTS: Vol. I. (xlvii, 1153 pages). Blue spine with black lettering. Mild bumping to tail of spine and dust jacket spine. -- Vol 2. (liii, 1085 pages). Orange spine with black lettering. Shelved in above Renaissance. 1412220. Shelved Dupont Bookstore.…

Hardcover. Condizione: Brand New. 1st edition. 1031 pages. 9.50x6.75x2.00 inches. In Stock.

Hardcover. Condizione: New. Octavo, 9-7/8 by 6-7/8 inches, 192 pages. The type is English Garamond composed and cast in Monotype for the text and large sizes for display handset. The type and the 24 relief prints in three colors from polymer plates were printed by letterpress. The paper is Magnani wove, Italian mouldmade, for the text and Canson Mi-Teintes, French mouldmade, for the prints. The binding is Smyth-sewn, with headbands, in a three-piece cover: a gray goatskin spine with titling, black cloth sides, with an inset additional print on the front cover. All copies are signed by the artist, in an edition of 300 copies. This edition of the poetry of Elizabeth Bishop (1911-1979) has been selected and introduced by Helen Vendler. In the years since Bishop's death, her stature has grown remarkably, as Vendler tells us in an introduction that begins by lauding the innovations of early twentieth century poetry: "Ezra Pound, with his command 'Make it new!' encouraged his contemporaries to break with tradition, and many seemed to join him in the effort, not least his friend and fellow-expatriate Thomas Stearns Eliot. E.E. Cummings brought typographical play into whimsical and satiric lyrics, flouting conventions of erotic propriety, while Frost - although asserting a rootedness in New England - had to go to London to be published, and drew on Latin lyric for his stoicism and epigrammatic force. Marianne Moore's poems were unsettling amalgams of satire, fable, and sermon, unwilling to observe generic borders. After the rebellious exhilarations of those modern poets, it seemed that any subsequent collection of poets might be a disappointing one. To everyone's surprise, the next American constellation was no less brilliant: Robert Lowell, Sylvia Plath, John Berryman, John Ashbery. . . . Against such contemporaries, Elizabeth Bishop seemed decorous, "feminine", "modest", hardly dangerous. Living in Brazil, and publishing at intervals of several years, she was not visibly part of the American cluster of poets. Although she was always esteemed by her fellow-poets, it was only in her latter years that she was understood and prized by the wider public. Since her death in 1979, she has become the most popular poet of her generation, in part because of her plain- spoken language but also because of her candor and depth of feeling. This is a selection of thirty-nine poems considered her most important and most representative by Professor Vendler. The sculptor John Newman has long been a reader of poetry and Elizabeth Bishop is one of his favorite poets. For this Arion Press artist book, John Newman has made twenty-four drawings of small sculptures made between 1998 and 2016, with a twenty-fifth for the cover. Reversing the process in his early sketches for objects-never-to-be-made, he has now depicted forms he has already made, each from one point of view, as works of graphic art, flat on the page, in gouache, in black, gray, and white, on tan paper. These drawings have been transformed into relief prints and printed by letterpress from polymer plates on French mould-made paper. The titles and dates of creation of the sculptures are used as the titles for the prints, which appear on the facing page of poetry, below the running foot. The prints are arranged in chronological order and spaced at regular intervals throughout the poetry. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help. John Newman (illustratore).…

Condizione: Fine. Number 200 of 250 numbered copies, with 26 lettered copies hors de commerce. It is the forty-seventh publication of the Arion Press and rather scarce with no copies in commerce. The book shares characteristics with the sixth publication of the press, Moby-Dick, by the same author, of 1979, in that the same typeface is used, Goudy Modern . it is printed on the same paper, which was made for that edition by hand to the specifications of the press at the Barcham Green Mill in England and bears watermarks of the mill, the press, and of a sperm whale; and the same artist, Barry Moser, has engraved a new portrait of Herman Melville on Resingrave for the frontispiece. The text type was composed and cast on the Monotype by Mackenzie & Harris. The display type is Goudy Open and was set by hand. The book was designed and produced by Andrew Hoyem and conceived in many ways as a companion to the 1979 Moby Dick, one of the most important press books of the twentieth century." [from the Prospectus]. This book was suggested to Hoyem by the renowned scholar of poetry, Helen Vendler. She regarded Melville as among the greatest American poets of the 19th century and was eager to make a selection that would show the variety of his best poetry. Despite the importance attached to his poems today by scholars and critics, seldom did readers have any appreciation for Melville the poet. Bound in bright blue cloth with darker blue dyed leather goatrskin bands left over from the earlier Moby Dick. The bands run across the top and bottom edges of the book with title and author in silver foil. Printed on octavo sized paper of 6.75 x 9 7/8 inches using Goudy Modern type in a smaller point size than the 1979 volume. Top page edges trimmed, while the fore-edge and bottom edges are untrimmed. The signatures were folded by hand and each copy was sewn by hand with linen thread over linen tapes. Housed in a blue cloth slipcase with blue goatskin title label to spine. Accompanied by the prospectus. In fine condition. Measures 7 x 10 inches. 156 numbered pages. PRI/110424. …