Here's part of a letter Jose Rodriguez-Feo wrote to Wallace Stevens. The two had not met yet at this point. Their relationship, entirely epistolary except for two brief meetings some years after this, was both extraordinarily intimate and formal--both at once. Stevens loved letters from his young exotic friend "Pepe." Rodriguez-Feo was thrilled to be able to get to know this forbidding-seeming poet, the famously icy Stevens. The talk of Hemingway in this letter might have been a signal that the Cuban was interested in Stevens's views of male sexuality, wondering if indeed that was part of Stevens' attraction to corresponding with "a real blood and bone Latino." But Stevens would never, ever nibble on this bait. Now a self-promotion alert: my book, edited by Beverly Coyle, tells this whole story and presents all the letters between the two. Get a copy here. Or ask me for one. I have a few extras at home. If the title of this post is clickable, click on it for a larger view of the letter excerpt above.
A few years ago John Serio was asked to edit the Cambridge Companion to Wallace Stevens and expressed the hope that I'd summarize what I'd learned over the years about Stevens' response to the radical-left poetics of the 1930s, so I wrote a short paper (10 pages in print) and it appeared in that very good volume. Today I uploaded a PDF copy to my "Selected Works" site: here's the essay.
Edward Ragg is a poet, an expert on the poetry of Wallace Stevens, a resident of China, and a writer about wine. With Fongyee Walker, Edward blogs about wine at "Dragon Phoenix." His new book, "Wallace Stevens and the Aesthetics of Abstraction," is due out from Cambridge this summer. Stevens' love of wine is naturally part of the book:
"Stevens was something of a wine lover, especially of the wines of Burgundy and one of the book’s chapters is entitled ‘Food, Wine and the Idealist ‘I” (the ‘I’ is a special case of the first person speaker in several of Stevens’ 1940s poems). The book proffers a long reading of perhaps Stevens’ most baffling gastronomic poem ‘Montrachet-Le-Jardin’, a text whose relationship with Burgundy and with Occupied France of 1942 is both ingenious and has previously remained tough for Stevens scholarship to decipher. Part of the book’s argument is that Stevens’ embrace of an abstract aesthetic was not confined merely to poetic or artistic concerns, but involved his everyday imagination, interests and needs, including a love of the finer things in life, with wine being no exception...."
After months--several years--of digitizing, consulting, traveling, etc., we at PennSound are now ready to make available the recordings of Wallace Stevens reading his own poetry. We begin our new Stevens author page with two readings he gave at Harvard near the end of his life. Our friends at the Woodberry Poetry Room at Lamont Library (though organizationally Woodberry now is part of the Houghton Library system) have shared these with us. Peter Hanchak--only child of Holly Stevens who was the only child of Wallace and Elsie Stevens--has given us at PennSound permission to make available whatever Stevens recordings we can find. I'm personally very grateful to Peter, who clearly understands that PennSound is all about noncommercial, educational use. Thanks to Joan Richardson and John Serio who helped me work with Peter on this; and thanks to Christina Davis, new director at the Woodberry, and Don Share, former director there, for their help and advice as we've moved forward. It's our hope, of course, that the way Stevens is taught will at least somewhat change now that his own way of reading the poems is widely and freely available. Long live open access!
This morning I interviewed and moderated a discussion with Susan Howe, and last night Susan read her work, including the opening pages of Melville's Marginalia, sections of The Midnight, and the poems in a series called "118 Westerly Terrace" (the address of Wallace Stevens's home). Click here for links to audio and video recordings of both events.
I was asked to choose three of Wallace Stevens' poems to represent his entire body of work. An impossible--and perhaps irrelevant--task, but I was game. This short essay is the result, published a few months back.