
	Where results make sense

Topic: Susan Howe

Related Topics

Fanny Howe

Lyn Hejinian

Lorine Niedecker

Denise Levertov

Charles Olson

New Jersey

Metalibrary

List of poets

Evelyn Lau

ABM Treaty

John Cage

Podicepidae

List of women poets

Evangelist

Tokaji

In the News (Thu 12 Nov 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

	CVCHowe
		In an earlier interview, Howe's response to the charge that her poetry is "inaccessible" is that "it's accessible to whoever really wants access to it" (Falon 1989: 4 1), rerouting attention from the difficulty of her work to the reader and his or her efforts and desires vis à vis her work.
		Howe's imagery here suggests that the reader's role is a paradoxical one that involves both active engagement ("To follow words where they lead") and a type of surrender ("to let language lead them"); what unifies these two positions is their close and intimate relationship with the text.
		Finally, history as Howe reads and renders it is often characterized by scenes of violence, portrayed through visual and aural violence on the page: battles, beheadings, scalpings, banishment, abandonment to starvation, cold, and madness, crucifixions, and conquering forces are all abundantly present in her poetry.
	mason.gmu.edu /~stichy/CVCHowe.html (1219 words)

	Susan Howe - Wikipedia
		Susan Howe (born 1937) is an Irish-born American poet and critic who is closely associated with the L=A=N=G=U=A=G=E group of poets.
		Howe was born Dublin, where in her mother, Mary Manning, wrote plays and acted for the Abbey Theatre.
		Howe is author of a number of books of poetry, including Europe of Trusts: Selected Poems (1990), Frame Structures: Early Poems 1974-1979 (1996) and The Midnight (2003), and two books of criticism, The Birth-Mark: Unsettling the Wilderness in American Literary History (1993) and My Emily Dickinson (1985).
	en.wikipedia.org /wiki/Susan_Howe (229 words)

	Susan Schultz on Susan Howe in PMC
		Howe believes in history (what she terms in _Singularities_ "narrative in non-narrative") and furthermore she believes, unfashionably, in the possibility that history (and gender) can be transcended through art.
		Howe's revision of literary history problematically reproduces women's silences in the text even as it permits their voices to speak through the agency of the reader, who transforms Howe's compressed "narrative in non-narrative" into story.
		Howe is that curious combination, a deeply spiritual iconoclast, one who seeks to replace a set of icons not with a heap of broken images, but with a new set of icons, inaugurated through her use of the page of words as a visual artifact.
	www.english.upenn.edu /~afilreis/88/howe-review.html (3406 words)

	Pierce-Arrow by Susan Howe - R A I N T A X I o n l i n e
		Howe does everything possible to produce the illusion that you are seeing the Peirce manuscripts, but she doesn't try to produce the illusion that you are seeing Peirce; in fact, she does everything possible to emphasize that her account of Peirce is based in secondary sources, and that all of her characters are text-based.
		Howe dwells at some length on Juliette Peirce's attempts, in the years following her husband's death, to support herself by selling off his papers, which no library seems to have been eager to acquire.
		Howe didn't invent the notion that poetry is made of some special stuff that isn't speech or writing, and that converting it into verbal material, giving it form, effectively destroys it.
	www.raintaxi.com /online/1999fall/howe.shtml (1348 words)

	On Susan Howe and History
		The work of Susan Howe is perhaps most eloquent testimony to the continuing role of the poet-as-historian, though her texts also argue the need for a fundamental reformulation of Poundian principle.
		Howe clearly believes with Pound that the poetic medium offers a means by which to reactivate a "history" long since atrophied under the dead hand of the academy.
		For Howe, the blasting of a segment of the past out of the continuum of history produces a condition of language which is in a particular sense anti-metaphorical: words do not become figures for things but remain stubbornly themselves.
	www.english.uiuc.edu /maps/poets/g_l/howe/history.htm (1261 words)

	Susan Howe -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-21)
		Susan Howe (born 1937) is an (Click link for more info and facts about Irish-born) Irish-born (Click link for more info and facts about American poet) American poet and critic who is closely associated with the (Click link for more info and facts about L=A=N=G=U=A=G=E) L=A=N=G=U=A=G=E group of poets.
		Howe was born (Capital and largest city and major port of the Irish Free State) Dublin, where in her mother, Mary Manning, wrote plays and acted for the (Click link for more info and facts about Abbey Theatre) Abbey Theatre.
		Howe spent some time in Dublin, where she worked as an actor and assistant stage director with the (Click link for more info and facts about Gate Theatre) Gate Theatre.
	www.absoluteastronomy.com /encyclopedia/s/su/susan_howe.htm (424 words)

	EPC/Ming-Qian Ma on Susan Howe
		Howe's fusion of history and poetry, carried with increasing emphasis to the point of interdependency or mutual identification, functions to reposition the power relations between the two by providing poetry with an entry point into history, into what hitherto has always been the sealed authoritarian discourse of history.
		Howe's perceptional meeting with the past "from writer to writer, mind to mind" is what constitutes her poetry as "messages." The mutual embracing of two minds, which leads to "the immediate feeling of understanding" (Howe, My Emily, 51), finds in poetry "a different way of knowing things" (Foster, in Howe, "Interview," 23).
		For Howe regards sound as the "key to the untranslatable hidden cause," as both "a refuge and a bridge" ("Difficulties," 21, 17), whereby a retreat from conventional significations paradoxically uncovers an unacknowledged message from "an under voice that was speaking from the beginning" ("Encloser," 192).
	epc.buffalo.edu /authors/howe/howe_ma.html (5945 words)

	EPC/Rachel Blau DuPlessis on Susan Howe
		Susan Howe takes the experimentalist desire for interrogation of the mark and combines it with the populist mysteries of such oblique and marginalized materials as folk tales and early American autobiography and fuses these under the complex and resonant sign of human femaleness.
		How deep and intransigent the nature and level of resistance to smoothness and "normalcy" of poetry: the deformations in (un)grammatical, in (non)-word "play," in (mis)spellings, in investigation even unto the syllable, unto and into the letter, the mark.
		Howe speaks of her own fear of being an artist based on her apprehension that madness and breakdown were the retributive punishment for ambition.
	epc.buffalo.edu /authors/howe/howe_duplessis.html (5506 words)

	Books of the poet: Susan Howe - book works writings work
		Susan Howe demonstrates with a clarity and perception unmatched by any editor how the only way to understand and fully appreciate Emily Dickinson is by reading her manuscripts, some of which are reproduced in this book.
		Howe samples texts like a hip-hop DJ, switching between voices to prove her point that editing was a typically male response to the wilderness that women (and the New World) represented.
		Howe's passion for her subject is obvious, especially in the interview at the end.
	www.poemhunter.com /susan-howe/books/poet-17010 (1771 words)

	About Susan Howe
		Susan Howe has quarried large areas of human geography that would be altogether difficult for me. In fact, if she and I form a mutual admiration society -- which I think we do -- it is unfairly tilted towards her.
		The phrase "a poetics of intervening absence" seems an apt description of Howe's own project: her writing embodies absence in its elliptical and disjunctive character, and in its dramatic use of space on the page.
		Susan is concerned with the passionate act of writing, with Language.
	www.english.uiuc.edu /maps/poets/g_l/howe/about.htm (1028 words)

	Meridian Magazine :: Poetry : AN INTERVIEW OF SUSAN ELIZABETH HOWE
		HOWE: My initial reasons for writing about these vast reaches of time is that when I was exploring the three subjects of these poems—the galaxies in the universe, a dinosaur, and the southern Utah landscape—I felt the need to try to grasp those immense distances of time and space.
		HOWE: One Christmas season it occurred to me that the person most involved in Christ’s birth, in addition to him, was his mother, and yet we have no account of the experience from her perspective.
		HOWE: I’ve found that I can’t just turn beginning writers loose in a workshop because they are not critical readers; they themselves don’t recognize the difference between a strong line and a weak line, vague imagery and specific sensory imagery and so forth.
	www.meridianmagazine.com /poetry/030910interview.html (2835 words)

	John Palattella: All about Her Mother
		Susan Howe stands apart from this milieu, utterly alone in her work, wandering on a blasted heath of books and contemplating the presence of the past in poetry and language.
		Howe is a poet-archaeologist who writes poems by seizing on a word, phrase, or even the marginalia of a writer and excavating it for a half-seen or half-forgotten meaning.
		And some coincidences are utterly subjective, as in the case of Susan Howe, insomniac and resident of Buffalo, New York, and Guilford, Connecticut, noting with fascination that Frederick Law Olmsted, who designed Buffalo’s park and parkways system, also suffered from insomnia and, during his youth, boarded with a preacher in Guilford.
	bostonreview.net /BR28.6/palattella.html (2160 words)

	[No title]
		Mary Rowlandson" (Birth-mark 96) [1] The recent publication of two books by Susan Howe marks a further climb in the upward curve of her reputation as one of the most serious, and important, poets of our time.
		Prophecy, in Howe's lexicon, is re-vision in the sense that it both reaches forward and back; her quotation from John Cotton in _Singularities_ is appropriate: "Prophesie is Historie antedated; / and History is Postdated Prophesie" (4).
		And yet, in a move typical of Howe and characteristic of her risk-taking as a writer, one senses the desire that there BE an original text, an original poem, and that she--as editor and reviser--be permitted access to "authorial intention," hence the pre-scriptive level of thought, a level that precedes proscription.
	www.infomotions.com /serials/pmc/pmc-v4n2-schultz-exaggerated.txt (3350 words)

	EPC/Susan Howe Home Page
		Susan Howe at the Academy of American Poets
		Language Poetry and the Lyric Subject: Ron Silliman's Albany, Susan Howe's Buffalo by Marjorie Perloff
		WHOWE – On Susan Howe by Rachel Blau DuPlessis
	wings.buffalo.edu /epc/authors/howe (144 words)

	UPNE \| The Birth-mark (Site not responding. Last check: 2007-10-21)
		Susan Howe approaches early American literature as pet and critic, blending scholarship with passionate commitment and unique view of her subject.
		Howe’s convincing reading of Dickenson’s manuscripts as the primary site of her “sumptuary” values is a major challenge to previous readings of Dickinson and inaugurates a new era in Dickinson scholarship.
		SUSAN HOWE is a poet and Professor of English at the State University of New York- Buffalo.
	www.dartmouth.edu /~upne/0-8195-5256-9.html (553 words)

	Alibris: Susan Howe
		Susan Bee's "pictures" do not merely illustrate Susan Howe's poems, but intermingle with them, frame them, and playfully affect their interpretation.
		Howe inhabits the imagination and explores the world of Charles Sanders Peirce in this, one of her many books that hovers in the borderland between poetry and prose.
		But Howe's West is not limited to the arid canyon-lands; it also extends to the cow-casino-bordello town of Elko and to the urbanized valleys of the Wasatch Front.
	www.alibris.com /search/books/author/Susan_Howe (532 words)

	Susan Howe (Site not responding. Last check: 2007-10-21)
		Susan Howe was born in Boston, on June 10, 1937, and grew up in Cambridge, MA.
		Her work as a poet is profoundly tied to Connecticut; to the landscape around Long Island Sound, to the history of the area, to Sterling Library at Yale University, to the Atlantic Ocean around Massachusetts and to New England in general.
		Susan Howe is a two-time winner of the Before Columbus Foundation Book award for Secret History of the Dividing Line, poetry, (1980); and My Emily Dickinson, a critical study of Emily Dickinson's poetry, (1987).
	www.wwnorton.com /nd/BIOs/HoweBIO.htm (282 words)

	WarPoetry10
		In an interview with Lynn Keller, Howe maintains that some of Benjamin's essays should actually be called poems, naming also his "interest in very short essays, his interest in the fragment, the material object, and the entrance of the messianic into the material object" as significant to her own work (1995: 29).
		These works European identity… is foregrounded by Howe’s return to first and primal places, as represented by her mother’s Ireland, the early myths and fairy tales of her own disrupted childhood, and the enduring absence of a father pulled away by history.
		Susan Howe’s three-part poem entitled Pythagorean Silence considers this “[l]ong Pythagorean lustrum” and situates itself along this same fault line between speech and silence, between language and loss; in fact, Pythagorean Silence perches precariously on this fault line that is the language of loss.
	mason.gmu.edu /~stichy/WarPoetry10.html (4325 words)

	Jacket 25 - Stephen Collis reviews "The Midnight", by Susan Howe
		Throughout Howe’s now considerable body of work the visual and textual have been held in close proximity — often to the point of being indistinguishable — for this is a poet for whom the textual is visible, the tangled and tangible and visceral remains of history’s textuality being her primary subject matter and formal constraint.
		Howe reproduces the fly-leaf marginalia from her great-aunt’s copy of The Irish Song Book which is inscribed : ‘To all who read: This book has a value for Louie Bennett that it cannot have for any other human being.
		Howe is the postmodern Scholar Gypsie, an itinerant reader of the textual rubble of religious and literary dissent.
	jacketmagazine.com /25/collis-s-howe.html (950 words)

	alerts( (Site not responding. Last check: 2007-10-21)
		Susan Howe's books include Pythagorean Silence (Montemora Foundation, 1982), The Defenestration of Prague (Kulchur, 1983; including The Liberties, first published in 1980), and the earlier Secret History of the Dividing Line (Telephone, 1979), and Cabbage Gardens (Fathom Press, 1979).
		Like much of Susan Howe's poetry, Secret History of the Dividing Line is set at an intersection (as the title suggests) of time and space in a particular emotional territory.
		Many probing uses of the meanings of mark (to notice, a visible trace or impression, a boundary, a sign or symbol, a tract of land held in common in a community--among others.) She chooses to have her making a mark bounded by two marks to whom this book is dedicated, her father, her son.
	www.scc.rutgers.edu /however/print_archive/alerts0584.html (1098 words)

	R A I N T A X I o n l i n e
		Howe's introduction to The Midnight consists of her brief deliberation on the use for the tissue, which is there to "prevent illustration and text from rubbing together." Merely turn the page after the brief deliberation, and the poetry of The Midnight starts, each poem in the shape of a bed hanging.
		Howe's syntax, on the other hand, defies diagramming--one is tempted to read the lines backwards as well as forwards, just as in the chess match in Wonderland, to move your man backward was to move your man forward.
		Howe follows the dream of the birdwoman with an anecdote about her own mother, and a comment about how perhaps a child may be able to perceive a deeper reality in terms of a parent, even while the child might never be able to see the parent as she truly is.
	www.raintaxi.com /online/2003winter/howe.shtml (3572 words)

	Register of Susan Howe Papers - MSS 0201
		Howe was one of five American poets at the Rencontres Internationales de Poésie Contemporaine in Tarascon, France, 1988, as well as a Butler fellow in the Department of English at SUNY, Buffalo, also in 1988.
		While Howe has continued to produce books of poetry and literary-historical criticism, her work crosses the boundaries of genres: her poetry stems from her archival research in literary history, while her literary scholarship is poetic and personal.
		Howe labeled some of these folders as "Outtakes," and so it is probably that she produced much of this material concurrently with materials which made it into various published works.
	orpheus.ucsd.edu /speccoll/testing/html/mss0201a.html (4275 words)

	Sarandon, Susan -- Encyclopædia Britannica
		Anthony, Susan B. pioneer crusader for the woman suffrage movement in the United States and president (1892–1900) of the National American Woman Suffrage Association.
		A show business career of more than a quarter century provided Susan Sarandon with the opportunity to demonstrate her abilities in a variety of genres, but she especially made a name for herself in a series of dramatic, thought-provoking films in the 1990s.
		Born on July 1, 1882, in Davenport, Iowa, Susan Glaspell became a reporter for the Des Moines Daily News in 1899.
	www.britannica.com /eb/article-9106390 (739 words)

	alerts( (Site not responding. Last check: 2007-10-21)
		Try to copy her calligraphy; retrace one sweeping S, a, or C, and you will know how sure her touch was/is. Shapes and letters pun on and play with each other.
		Susan Howe is the author of My Emily Dickinson, North Atlantic Books, and several volumes of poetry, including Pythagorean Silence, Montemora, and Defenestration of Prague, The Kulchur Foundation.
		These are delicate mechanisms of translation, ferrying across the swimming signifiers, causing bankruptcy among tongues rooted "to the unavowable and patriarchal lies." "Une femme est une femme." Except this fiction as disappearance, would have to be turned in.
	www.scc.rutgers.edu /however/print_archive/alertsvol3no4.html (1296 words)

	LANGUAGE POETRY AND THE LYRIC SUBJECT
		How does this allusive visual poem relate to Howe's so-called preface, which interweaves autobiography, visual poetry, and the founding and early history of Buffalo.
		Susan Howe and Ron Silliman, included as they both are in every anthology of "Language poetry" to date, could hardly be more different in their modes of self-writing.
		And this means that perspective, as in the polar-bear scene in Howe's "Frame Structures," is always shifting and that the subject, far from being at the center of the discourse, as is the case in Wright's poem, is located only at its interstices.
	wings.buffalo.edu /epc/authors/perloff/langpo.html (8472 words)

Try your search on: Qwika (all wikis)