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All --<br><br>
the following event may be of interest--please join us...<br><br>
Nancy<br><br>
<br><br>
<blockquote type=cite class=cite cite="">Dear Colleagues,<br>
<br>
Please join us for a double lecture given by Visiting Fellows Sarah
Barnsley, who will speak about <b>the poet Mary Barnard</b>, and Eric
White, who will speak about the early prose of <b>William Carlos
Williams.</b> Each lecture will run 30 minutes with 10-15
minutes of questions. A reception will follow on the
mezzanine. <br>
<br>
<div align="center"><b>THURSDAY, JANUARY 3rd<br>
</b>3:00-4:30pm<br>
in room 39 downstairs in the Beinecke Library<br>
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<div align="center">1st lecture<br>
3:00-3:45PM<br>
<font size=4><b>�Will the Real Mary Barnard please stand up?�:<br>
Mary Barnard Among the Moderns<br>
</b></font></div>
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<img src="cid:6.2.1.2.2.20080103093902.029152e0@nk79.mail.yale.edu.1" width=229 height=233 alt="[]">
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When Mary Barnard arrived in New York by steamship in the Spring of 1936
she was, she said, �an awkward young woman with sawdust in her hair� �
the shy daughter of a northwestern lumber-merchant, encouraged East by
her mentor Ezra Pound, to whom she felt apprenticed. And this would
be the standard account of Barnard, if we were to believe the brief
sketches of her in the biographies of the modernist poets she knew, where
she tends to appear among the footnotes. This lecture seeks to
re-position Barnard�s place in American modernism, drawing on materials
newly-acquired by the Beinecke following Barnard�s death in
2001. Whilst I�ve argued elsewhere that Barnard was a �Late
Imagist� poet, my Beinecke fellowship has revealed a fascinating portrait
of a figure who wasn�t so much a �late� writer, languishing at the
tail-end of modernism, but one energetically engaged with the production
and extension of high modernism during her years in New York City and
Buffalo between 1936 and 1960. Focussing on some selected snapshots
unearthed from the archives of Barnard�s encounters with James Laughlin,
Marianne Moore, Ezra Pound, and William Carlos Williams, this lecture
will outline some of �the Real Mary Barnard� (the quotation comes from
one of her friends) and her �real� literary<br>
legacy.<br><br>
<u>H.D. Visiting Fellow in American Literature<br>
</u><b>Sarah Barnsley</b> is the Course Director for English Degree and
Diploma Programmes (by distance-learning) at the University of London,
where she also teaches American Literature (at Goldsmiths College).
She received her MA and PhD from the University of London, and a BA from
the University of East Anglia. She is currently completing a book
manuscript, <i>The Poetry of Mary Barnard</i>, drawing extensively on
unpublished materials only recently made available. She will be
using her H.D. Fellowship to initiate research for a more exhaustive
work, <i>Mary Barnard: A Critical Biography</i>, which will
appraise and contextualise the entire scope of Barnards work (poetry,
prose, translation, short fiction, essays, and travel writing) in order
to prompt re-assessment of her place in the American literary canon and
her influence on those in her circle (including William Carlos Williams,
Ezra Pound, and Marianne Moore). Sarah has written articles on Mary
Barnards metrics, her use of region, and her relationship to H.D. and
Imagism. She has also published poems in a range of UK poetry
journals and was shortlisted for an Eric Gregory Award for Poetry in 2004
by the Royal Society of Authors.<br><br>
<br>
<div align="center"> <br>
2nd lecture<br>
3:45-4:30PM <br>
<font size=4><b>Building an American Avant-Garde: <br>
The Early Prose of William Carlos Williams<br>
</b></font></div>
<br>
William Carlos Williams is best known as a poet, but many critics
consider his major prose works (including his 1925 book <i>In the
American Grain</i>)<i> </i>to be an important part of the American
modernist canon. Yet his early writings remain largely inaccessible, and
their importance to the broader evolution of American modernism is all
too often neglected. My work at the Beinecke is an attempt to correct
this situation by producing a critical edition of Williams�s uncollected,
unpublished, and previously unknown early prose, ca. 1913-23. In this
talk, I will explore Williams�s early career and his attempts to foster
an �indigenous� avant-garde community in the pages of little magazines.
While tracing the development of Williams�s prose, I will discuss the
challenges that editing this material presents. Ezra Pound famously
claimed that the �opacity� of Williams�s early work was one of its
defining features. Yet Pound also recognised (sometimes only intuitively)
that a scrupulous method lay behind the apparent eccentricity of
Williams�s more experimental writing. The �typographical environments� of
little magazines afforded Williams an unusual degree of freedom for such
experiments: he crosscut poetry, prose, and sometimes, even the work of
other writers to re-write the rules of engagement between the
avant-garde, its audiences, and its own members. By restoring the visual
resources that Williams drew on in his early prose writing, I hope to
overcome some of the difficulties that this work presents, and also
present a vivid picture of the avant-garde publishing scene in the 1910s
to early 1920s.<br>
<br>
<u>Gallup Visiting Fellow in American Literature</u> <br>
<b>Eric White</b>'s research focuses on American modernist journals, and
the central figures in his research are William Carlos Williams and Ezra
Pound. He completed his PhD in American Literature at Clare College,
University of Cambridge in 2005 and currently teaches English and
American Literature at the University of Cambridge and Anglia Ruskin
University. He has published an article on Williams's journal Contact,
and recently contributed a chapter on Kora in Hell to The Legacy of
William Carlos Williams: Points of Contact (Cambridge Scholars Press,
2007). At present, Eric is working on an edition of Williams's early
prose and completing a monograph based on his doctoral thesis,
provisionally titled Locating the Avant-Garde: Place, Poetics, and Print
Culture in Modernist Journals.<br>
<br><br>
Priscilla Holmes<br>
Coordinator, Fellowship and Educational Programs<br>
Beinecke Rare Book and Manuscript Library<br>
Yale University<br>
P.O. Box 208240<br>
New Haven, CT 06520-8240<br>
Phone (203)432-2956 Fax (203)432-4047<br>
beinecke.fellowships@yale.edu </blockquote>
<x-sigsep><p></x-sigsep>
Nancy Kuhl<br>
Associate Curator, Yale Collection of American Literature<br>
The Beinecke Rare Book and Manuscript Library<br>
Yale University<br>
121 Wall Street, P.O. Box 208240<br>
New Haven, CT 06520-8240<br>
Phone: 203.432.2966 <br><br>
African American Studies at Beinecke Library:
<a href="http://beineckejwj.wordpress.com/" eudora="autourl">
http://beineckejwj.wordpress.com/<br>
</a>Poetry at Beinecke Library:
<a href="http://beineckepoetry.wordpress.com/" eudora="autourl">
http://beineckepoetry.wordpress.com/<br>
</a>Room 26 Cabinet of Curiosities:
<a href="http://brblroom26.wordpress.com/" eudora="autourl">
http://brblroom26.wordpress.com/<br>
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