66-493: Sunday Morning or Sunday Mornin' may refer to: Art [ edit ] Sunday Morning (poem) , a poem by Wallace Stevens Sunday Morning (collage) , a public artwork by India Cruse-Griffin, in Indianapolis, Indiana, US Music [ edit ] Albums [ edit ] Sunday Morning (album) , a 2002 album by Jake Shimabukuro Sunday Mornin' (album) ,
132-471: A Lutheran family of Dutch and German descent. John Zeller, his maternal great-grandfather, settled in the Susquehanna Valley in 1709 as a religious refugee. The son of a prosperous lawyer, Stevens attended Harvard as a non-degree three-year special student from 1897 to 1900, where he served as the 1901 president of The Harvard Advocate . According to his biographer Milton Bates, Stevens
198-475: A 1961 album by Grant Green, or its title song (see below) Songs [ edit ] "Sunday Morning" (Earth, Wind & Fire song) , 1993 "Sunday Morning" (Mitch James song) , 2019 "Sunday Morning" (k-os song) , 2006 "Sunday Morning" (Maroon 5 song) , 2004 "Sunday Morning" (No Doubt song) , 1997 "Sunday Morning" (The Velvet Underground song) , 1967 "Sunday Mornin'" (Spanky and Our Gang song) , 1966 "Sunday Mornin'", by Grant Green from
264-411: A G.I. series that revealed diverticulitis , a gallstone , and a severely bloated stomach. Stevens was admitted to St. Francis Hospital and on April 26 was operated on by Dr. Benedict Landry. It was determined that Stevens was suffering from stomach cancer in the lower region by the large intestines and blocking the normal digestion of food. Lower tract oncology of a malignant nature was almost always
330-528: A Stevens biographer specializing in attention to Stevens as a businessman lawyer, Stevens in part related his poetry to his imaginative capacities as a poet while assigning his lawyer's duties more to the reality of making ends meet in his personal life. Grey finds the poem "A Rabbit as King of the Ghosts" useful to understanding the approach Stevens took in separating his poetry and his profession, writing: "The law and its prose were separate from poetry, and supplied
396-617: A UK television current affairs programme on BBC One See also [ edit ] One Sunday Morning , a 1926 film directed by Fatty Arbuckle Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Sunday Morning . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Sunday_Morning&oldid=1238547271 " Categories : Disambiguation pages Sunday Hidden categories: Short description
462-421: A constant theme throughout Stevens's poetry: "A great many of Stevens's poems show an object or group of objects in aimless oscillation or circling movement." In the end, reality remains. The supreme fiction is that conceptualization of reality that seems to resonate in its rightness, so much so that it seems to have captured, if only for a moment, something actual and real. I am the angel of reality, seen for
528-436: A form of relief for Stevens by way of contrast with poetry, as the milkman (portrayed as the realist in the poem) relieves from the moonlight, as the walk around the block relieves the writer's trance like absorption. But the priority was clear: imagination, poetry, and secrecy, pursued after hours were primary, good in themselves; reason, prose, and clarity, indulged in during working hours, were secondary and instrumental". In
594-459: A late flowering of artistic genius. His contemporary Harriet Monroe called Stevens "a poet, rich and numerous and profound, provocative of joy, creative beauty in those who can respond to him". Vendler notes that there are three distinguishable moods present in Stevens's long poems: ecstasy, apathy, and reluctance between ecstasy and apathy. She also notes that his poetry was highly influenced by
660-476: A moment standing in the door. Yet I am the necessary angel of earth, Since, in my sight, you see the earth again, Cleared of its stiff and stubborn, man-locked set, And, in my hearing, you hear its tragic drone Rise liquidly in liquid lingerings, Like watery words awash; A figure half seen, or seen for a moment, a man Of the mind, an apparition appareled in Apparels of such lightest look that
726-435: A mortal diagnosis in the 1950s. This was withheld from Stevens, but his daughter Holly was fully informed and advised not to tell her father. Stevens was released in a temporarily improved ambulatory condition on May 11 and returned to his home to recuperate. His wife insisted on trying to attend to him as he recovered but she had suffered a stroke in the previous winter and was not able to assist as she had hoped. Stevens entered
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#1732791324523792-399: A peristyle, And from the peristyle project a masque Beyond the planets. Thus, our bawdiness, Unpurged by epitaph, indulged at last, Is equally converted into palms, Squiggling like saxophones. And palm for palm, Madame, we are where we began. The saxophones squiggle because, as J. Hillis Miller says of Stevens in his book Poets of Reality , the theme of universal fluctuation is
858-402: A poor review published at that time of Interpretations . After his Harvard years, Stevens moved to New York City and briefly worked as a journalist. He then attended New York Law School , graduating with a law degree in 1903, following the example of his two other brothers with law degrees. On a trip back to Reading in 1904, Stevens met Elsie Viola Kachel (1886–1963, also known as Elsie Moll),
924-473: A sequence titled "Phases" in the November 1914 edition of Poetry ) was written at age 35, although as an undergraduate at Harvard, Stevens had written poetry and exchanged sonnets with Santayana. Many of his canonical works were written well after he turned 50. According to Bloom, who called Stevens the "best and most representative" American poet of the time, no Western writer since Sophocles has had such
990-469: A speculative interpretation of Stevens under this approach. In his 2016 book Things Merely Are: Philosophy in the Poetry of Wallace Stevens , Simon Critchley indicates a refinement of the appreciation of the interaction of reality and poetry in Stevens's poems, writing: "Steven's late poems stubbornly show how the mind cannot seize hold of the ultimate nature of reality that faces it. Reality retreats before
1056-448: A time (during The Great Depression ) when many Americans were out of work, searching through trash cans for food." Harriet Monroe , reviewing Harmonium for Poetry , wrote: "The delight which one breathes like a perfume from the poetry of Wallace Stevens is the natural effluence of his own clear and untroubled and humorously philosophical delight in the beauty of things as they are." By 1934, Stevens had been named vice president of
1122-503: A turn Of my shoulder and quickly, too quickly, I am gone? In one of his last poems, "Final Soliloquy of the Interior Paramour", Stevens describes the experience of an idea that satisfies the imagination and writes, "The world imagined is the ultimate good." Stevens places this thought in the individual human mind and writes of its compatibility with his own poetic interpretation of God, writing: "Within its vital boundary, in
1188-400: A way that the old religious idea of God can never again be. But with the right idea, we may again find the same sort of solace that we once found in old religious ideas. "[Stevens] finds, too, a definite value in the complete contact with reality. Only, in fact, by this stark knowledge can he attain his own spiritual self that can resist the disintegrating forces of life ... Powerful force though
1254-408: A young woman who had worked as a saleswoman, milliner , and stenographer . After a long courtship, he married her in 1909 over the objections of his parents, who considered her poorly educated and lower-class. As The New York Times reported in 2009, "Nobody from his family attended the wedding, and Stevens never again visited or spoke to his parents during his father's lifetime." A daughter, Holly,
1320-742: Is a kind of total grandeur at the end, With every visible thing enlarged and yet No more than a bed, a chair and moving nuns, The immensest theatre, the pillowed porch, The book and candle in your ambered room. According to Mariani, Stevens had a large, corpulent figure throughout most of his life, standing 6 feet 2 inches (1.88 m) tall and weighing as much as 240 pounds (110 kg). Some of his doctors put him on medical diets. On March 28, 1955, Stevens went to see Dr. James Moher for accumulating detriments to his health. Moher's examination did not reveal anything, and he ordered Stevens to undergo an x-ray and barium enema on April 1, neither of which showed anything. On April 19 Stevens underwent
1386-620: Is different from Wikidata All article disambiguation pages All disambiguation pages Sunday Morning (poem) " Sunday Morning " is a poem from Wallace Stevens' first book of poetry, Harmonium . Published in part in the November 1915 issue of Poetry , then in full in 1923 in Harmonium , it is now in the public domain. The first published version can be read at the Poetry web site: The literary critic Yvor Winters considered "Sunday Morning" "the greatest American poem of
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#17327913245231452-486: Is led by Hines, Macksey, Simon Critchley , Glauco Cambon, and Paul Bove . These four schools offer occasional agreement and disagreement of perspective; for example, Critchley reads Bloom's interpretation of Stevens as in the anti-realist school while seeing Stevens as not in the anti-realist school of poetic interpretation. Stevens is a rare example of a poet whose main output came largely only as he approached 40 years of age. His first major publication (four poems from
1518-450: Is not possible. Stevens suggests that we live in the tension between the shapes we take as the world acts upon us and the ideas of order that our imagination imposes upon the world. The world influences us in our most normal activities: "The dress of a woman of Lhassa, / In its place, / Is an invisible element of that place / Made visible." As Stevens says in his essay "Imagination as Value", "The truth seems to be that we live in concepts of
1584-497: Is real. When it adheres to the unreal and intensifies what is unreal, while its first effect may be extraordinary, that effect is the maximum effect that it will ever have." Throughout his poetic career, Stevens was concerned with the question of what to think about the world now that notions of religion no longer suffice. His solution might be summarized by the notion of a "Supreme Fiction", an idea that would serve to correct and improve old notions of religion along with old notions of
1650-509: Is that you write about subjects. Frost: The trouble with you, Wallace, is that you write about bric-a-brac. By late February 1947, with Stevens approaching 67 years of age, it became apparent that he had completed the most productive ten years of his life in writing poetry. February 1947 saw the publication of his volume of poems Transport to Summer , which was positively received by F. O. Mathiessen in The New York Times . In
1716-486: The Southern Review , Hi Simons wrote that much of early Stevens is juvenile romantic subjectivist, before he became a realist and naturalist in his more mature and more widely recognized idiom of later years. Stevens, whose work became meditative and philosophical, became very much a poet of ideas. "The poem must resist the intelligence / Almost successfully", he wrote. Of the relation between consciousness and
1782-610: The 11 years immediately preceding its publication, Stevens had written three volumes of poems: Ideas of Order , The Man with the Blue Guitar , Parts of a World , and Transport to Summer . These were all written before Stevens took up the writing of his well-received The Auroras of Autumn . In 1950–51, when Stevens received news that Santayana had retired to live at a retirement institution in Rome for his final years, Stevens composed his poem "To an Old Philosopher in Rome": It
1848-520: The 2018 album One in a Million "Sunday Morning", by Mitch James , 2019 "Sunday Morning", by Ethel Cain , 2019 Radio and television [ edit ] Sunday Morning (radio program) , a Canadian radio program formerly aired on CBC Radio One CBS News Sunday Morning , a television news program on CBS in the United States Sunday Morning , a Japanese television news program on TBS Sunday Morning ,
1914-541: The Avery Convalescent Hospital on May 20. By early June he was still sufficiently stable to attend a ceremony at the University of Hartford to receive an honorary Doctor of Humanities degree. On June 13 he traveled to New Haven to collect an honorary Doctor of Letters degree from Yale University. On June 20 he returned to his home and insisted on working for limited hours. On July 21 Stevens
1980-638: The Casa Marina hotel on the Atlantic Ocean. He first visited in January 1922, while on a business trip. "The place is a paradise," he wrote to Elsie, "midsummer weather, the sky brilliantly clear and intensely blue, the sea blue and green beyond what you have ever seen." Key West's influence on Stevens's poetry is evident in many of the poems published in his first two collections, Harmonium and Ideas of Order. In February 1935, Stevens encountered
2046-632: The Imagination (1951). Many of Stevens's poems, like " Anecdote of the Jar ", " The Man with the Blue Guitar ", " The Idea of Order at Key West ", " Of Modern Poetry ", and "Notes Towards a Supreme Fiction", deal with the art of making art and poetry in particular. His Collected Poems (1954) won the Pulitzer Prize for Poetry in 1955. Stevens was born in Reading, Pennsylvania , in 1879 into
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2112-625: The album Sunday Mornin' "Sunday Morning", by the Bolshoi , 1986 "Sunday Morning", by Julian Lennon from his 1989 album Mr. Jordan "Sunday Morning", by Ani DiFranco from her 2005 album Knuckle Down "Sunday Morning", from the musical Natasha, Pierre & the Great Comet of 1812 "Sunday Morning" (日曜の朝), by Hikaru Utada from the 2006 album Ultra Blue "Sunday Mornin", by Mary Mary from her 2011 album Go Get It "Sunday Morning", by Matoma feat. Josie Dunne, from
2178-643: The bespectacled Hemingway, who seemed to weave like a shark, and Papa hitting him one-two and Stevens going down "spectacularly," as Hemingway would remember it, into a puddle of fresh rainwater. In 1940, Stevens made his final trip to Key West. Frost was at the Casa Marina again, and again the two men argued. According to Mariani, the exchange in Key West in February 1940 included the following comments: Stevens: Your poems are too academic. Frost: Your poems are too executive. Stevens: The trouble with you Robert,
2244-401: The central mind We make a dwelling in the evening air, In which being there together is enough. Stevens concludes that God and human imagination are closely identified, but that feeling of rightness which for so long a time existed with that old religious idea of God may be accessed again. This supreme fiction will be something equally central to our being, but contemporary to our lives, in
2310-444: The company. After he won the Pulitzer Prize in 1955, he was offered a faculty position at Harvard but declined since it would have required him to give up his job at The Hartford. Throughout his life, Stevens was politically conservative. The critic William York Tindall described him as a Republican in the mold of Robert A. Taft . Stevens made numerous visits to Key West , Florida, between 1922 and 1940, usually staying at
2376-791: The early reception of his poems was oriented to symbolic reading of them, often using simple substitution of metaphors and imagery for their asserted equivalents in meaning. For Vendler, this method of reception and interpretation was often limited in its usefulness and would eventually be replaced by more effective forms of literary evaluation and review. After Stevens's death in 1955, the literary interpretation of his poetry and critical essays began to flourish with full-length books written about his poems by such prominent literary scholars as Vendler and Harold Bloom . Vendler's two books on Stevens's poetry distinguished his short poems and his long poems and suggested that they be considered under separate forms of literary interpretation and critique. Her studies of
2442-518: The end of his life, Stevens had left uncompleted his larger ambition to rewrite Dante's Divine Comedy for those who "live in the world of Darwin and not the world of Plato ." The initial reception of Stevens's poetry followed the publication of his first collection of poems, Harmonium , in the early 1920s. Comments on the poems were made by fellow poets and a small number of critics including William Carlos Williams and Hi Simons. In her book on Stevens's poetry, Helen Vendler writes that much of
2508-531: The evaluation of surety insurance claims as follows: "If Stevens rejected a claim and the company was sued, he would hire a local lawyer to defend the case in the place where it would be tried. Stevens would instruct the outside lawyer through a letter reviewing the facts of the case and setting out the company's substantive legal position; he would then step out of the case, delegating all decisions on procedure and litigation strategy." In 1917 Stevens and his wife moved to 210 Farmington Avenue, where they remained for
2574-456: The fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds. In Opus Posthumous , Stevens writes, "After one has abandoned a belief in God, poetry is that essence which takes its place as life's redemption." But as the poet attempts to find a fiction to replace the lost gods, he immediately encounters a problem: a direct knowledge of reality
2640-464: The home office of Hartford Accident and Indemnity Company and moved to Hartford , where he remained for the rest of his life. Stevens's career as a businessman-lawyer by day and a poet during his leisure time has received significant attention, as summarized in Thomas Grey's The Wallace Stevens Case . Grey has summarized parts of the responsibilities of Stevens's day-to-day life that involved
2706-520: The idea of God of which Stevens was critical. In this example from the satirical " A High-Toned Old Christian Woman ", Stevens plays with the notions of immediately accessible, but ultimately unsatisfying, notions of reality: Poetry is the supreme Fiction, madame. Take the moral law and make a nave of it And from the nave build haunted heaven. Thus, The conscience is converted into palms Like windy citherns, hankering for hymns. We agree in principle. That's clear. But take The opposing law and make
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2772-560: The imagination before the reason has established them." Notes Toward a Supreme Fiction is a lyrical poetic work of three parts, containing 10 poems each, with a preface and epilogue opening and closing the entire work of three parts. It was first published in 1942 and represents a comprehensive attempt by Stevens to state his view of the art of writing poetry. Stevens studied the art of poetic expression in many of his writings and poems, including The Necessary Angel , where he wrote, "The imagination loses vitality as it ceases to adhere to what
2838-416: The imagination that shapes and orders it. Poetry is therefore the experience of failure. As Stevens puts it in a famous late poem, the poet gives us ideas about the thing, not the thing itself." The reception and interpretation of Stevens's poetry have been widespread and of diverse orientation. In their book The Fluent Mundo Leonard and Wharton define at least four schools of interpretation, beginning with
2904-588: The isolation of the sky, At evening, casual flocks of pigeons make Ambiguous undulations as they sink, Downward to darkness, on extended wings. About this poem Stevens wrote that it was "simply an expression of paganism". Helen Vendler in the Cambridge Companion to Wallace Stevens summarized the poem as Stevens's search for "a systematic truth that could replace the Christianity of his churchgoing childhood." For Vendler,
2970-523: The late 20th century is Daniel Fuchs's The Comic Spirit of Wallace Stevens . Interest in the reading and reception of Stevens's poetry continues into the early 21st century, with a full volume dedicated in the Library of America to his collected writings and poetry. In his book on the reading of Stevens as a poet of what he calls "philosophical poetry", Charles Altieri presents his own reading of such philosophers as Hegel and Wittgenstein while presenting
3036-725: The longer poems are in her book On Extended Wings and lists Stevens's longer poems as including " The Comedian as the Letter C ", " Sunday Morning ", "Le Monocle de Mon Oncle", "Like Decorations in a Nigger Cemetery", "Owl's Clover", " The Man with the Blue Guitar ", "Examination of the Hero in a Time of War", "Notes Toward a Supreme Fiction", "Esthetique du Mal", "Description without Place", "Credences of Summer", "The Auroras of Autumn", and his last and longest poem, "An Ordinary Evening in New Haven". Another full-length study of Stevens's poetry in
3102-416: The marriage suffered as a result, but the couple remained married. In his biography of Stevens, Paul Mariani relates that the couple was largely estranged, separated by nearly a full decade in age, though living in the same home by the mid-1930s. Mariani writes: "there were signs of domestic fracture to consider. From the beginning, Stevens, who had not shared a bedroom with his wife for years now, moved into
3168-611: The master bedroom with its attached study on the second floor." After working in several New York law firms between 1904 and 1907, Stevens was hired in January 1908 as a lawyer for the American Bonding Company. By 1914 he had become vice president of the New York office of the Equitable Surety Company of St. Louis, Missouri . When this job was made redundant after a merger in 1916, he joined
3234-433: The mind,/ We say God and the imagination are one .../ How high that highest candle lights the dark." Imaginative knowledge of the type described in "Final Soliloquy" necessarily exists within the mind, since it is an aspect of the imagination that can never attain a direct experience of reality. We say God and the imagination are one ... How high that highest candle lights the dark. Out of this same light, out of
3300-434: The next seven years and where he completed his first book of poems, Harmonium . From 1924 to 1932 he resided at 735 Farmington Avenue. In 1932 he purchased a 1920s Colonial at 118 Westerly Terrace, where he resided for the remainder of his life. According to Mariani, Stevens was financially independent as an insurance executive by the mid-1930s, earning "$ 20,000 a year, equivalent to about $ 350,000 today [2016]. And this at
3366-547: The paintings of Paul Klee and Paul Cézanne : Stevens saw in the paintings of both Paul Klee—who was his favorite painter—and Cézanne the kind of work he wanted to do himself as a Modernist poet. Klee had imagined symbols. Klee is not a directly realistic painter and is full of whimsical and fanciful and imaginative and humorous projections of reality in his paintings. The paintings are often enigmatic or full of riddles, and Stevens liked that as well. What Stevens liked in Cézanne
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#17327913245233432-628: The poem as establishing the French painter Matisse as "a kindred spirit" to Stevens, in that both artists "transform a pagan joy of life into highly civilized terms." Wallace Stevens Wallace Stevens (October 2, 1879 – August 2, 1955) was an American modernist poet. He was born in Reading, Pennsylvania , educated at Harvard and then New York Law School , and spent most of his life working as an executive for an insurance company in Hartford, Connecticut . Stevens's first period begins with
3498-553: The poet Robert Frost at the Casa Marina. The two men argued, and Frost reported that Stevens had been drunk and acted inappropriately. According to Mariani, Stevens often visited speakeasies during Prohibition with both lawyer friends and poetry acquaintances. The following year, Stevens was in an altercation with Ernest Hemingway at a party at the Waddell Avenue home of a mutual acquaintance in Key West. Stevens broke his hand, apparently from hitting Hemingway's jaw, and
3564-718: The prime advocates of Stevens found in the critics Harvey Pearce and Helen Regeuiro, who supported the thesis "that Stevens's later poetry denies the value of imagination for the sake of an unobstructed view of the 'things themselves'". The next school of interpretation Leonard and Wharton identify is the Romantic school, led by Vendler, Bloom, James Baird, and Joseph Riddel. A third school of Stevens interpretation that sees Stevens as heavily dependent on 20th-century Continental philosophy includes J. Hillis Miller , Thomas J. Hines, and Richard Macksey . A fourth school sees Stevens as fully Husserlian or Heideggerian in approach and tone and
3630-560: The publication of Harmonium (1923), followed by a slightly revised and amended second edition in 1930. It features, among other poems, " The Emperor of Ice-Cream ", " Sunday Morning ", " The Snow Man ", and " Thirteen Ways of Looking at a Blackbird ". His second period commenced with Ideas of Order (1933), included in Transport to Summer (1947). His third and final period began with the publication of The Auroras of Autumn (1950), followed by The Necessary Angel: Essays On Reality and
3696-465: The stratagem which Stevens employs in attempting to accomplish this purpose is "of writing of himself in the third person, not as 'he' but as 'she', adopting a female persona for reflections that might at the time have seemed too 'unmanly' to be voiced with a masculine pronoun: 'Divinity must live within herself', declares the woman who has decided to celebrate Sunday at home with 'Coffee and oranges' instead of going to church." The critic Robert Buttel sees
3762-495: The twentieth century and... certainly one of the greatest contemplative poems in English" (Johnson, 100). Complacencies of the peignoir, and late Coffee and oranges in a sunny chair, And the green freedom of a cockatoo Upon a rug mingle to dissipate The holy hush of ancient sacrifice. She dreams a little, and she feels the dark Encroachment of that old catastrophe, And in
3828-405: The world in an attempt to make it seem coherent. To make sense of the world is to construct a worldview through an active exercise of the imagination. This is no dry, philosophical activity, but a passionate engagement in finding order and meaning. Thus Stevens wrote in " The Idea of Order at Key West ": Oh! Blessed rage for order, pale Ramon, The maker's rage to order words of the sea, Words of
3894-449: The world, in Stevens's work "imagination" is not equivalent to consciousness, nor is "reality" equivalent to the world as it exists outside our minds. Reality is the product of the imagination as it shapes the world. Because it is constantly changing as we attempt to find imaginatively satisfying ways to perceive the world; reality is an activity, not a static object. We approach reality with a piecemeal understanding, putting together parts of
3960-584: Was born in 1924. She was baptized Episcopalian and later posthumously edited her father's letters and a collection of his poems. In 1913, the Stevenses rented a New York City apartment from sculptor Adolph A. Weinman , who made a bust of Elsie. Her striking profile may have been used on Weinman's 1916–1945 Mercury dime and the Walking Liberty Half Dollar . In later years, Elsie Stevens began to exhibit symptoms of mental illness and
4026-551: Was in the habit of visiting St Patrick's Cathedral for meditative purposes. Stevens debated questions of theodicy during his final weeks with Fr. Arthur Hanley, chaplain of St. Francis Hospital in Hartford, where Stevens spent his last days suffering from stomach cancer and was eventually converted to Catholicism in April 1955 by Hanley. This purported deathbed conversion is disputed, particularly by Stevens's daughter, Holly, who
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#17327913245234092-510: Was not present at the time of the conversion, according to Hanley. The conversion has been confirmed by both Hanley and a nun present at the time of the conversion and communion. Stevens's obituary in the local newspaper was minimal at the family's request as to the details of his death. The obituary for Stevens that appeared in Poetry magazine was assigned to William Carlos Williams , who felt it suitable to compare Stevens's poetry to Dante 's Vita Nuova and Milton 's Paradise Lost . At
4158-537: Was personally introduced to the philosopher George Santayana while living in Boston and was strongly influenced by Santayana's book Interpretations of Poetry and Religion . Holly Stevens, his daughter, recalled her father's long dedication to Santayana when she posthumously reprinted her father's collected letters in 1977 for Knopf. In one of his early journals, Stevens gave an account of spending an evening with Santayana in early 1900 and sympathizing with Santayana about
4224-466: Was readmitted to St. Francis Hospital and his condition deteriorated. On August 1, though bedridden, he revived sufficiently to speak some parting words to his daughter before falling asleep after normal visiting hours were over; he was found deceased the next morning, August 2, at 8:30. He is buried in Hartford's Cedar Hill Cemetery . Mariani indicates that friends of Stevens were aware that throughout his years and many visits to New York City, Stevens
4290-495: Was repeatedly knocked to the street by Hemingway. Stevens later apologized. Mariani relates this: directly in front of Stevens was the very nemesis of his Imagination—the antipoet poet (Hemingway), the poet of extraordinary reality, as Stevens would later call him, which put him in the same category as that other antipoet, William Carlos Williams , except that Hemingway was fifteen years younger and much faster than Williams, and far less friendly. So it began, with Stevens swinging at
4356-448: Was the reduction, you might say, of the world to a few monumental objects. Stevens's first book of poetry, Harmonium , was published in 1923, and republished in a second edition in 1930. Two more books of his poetry were produced during the 1920s and 1930s and three more in the 1940s. He received the annual National Book Award for Poetry twice, in 1951 for The Auroras of Autumn and in 1955 for Collected Poems . For Thomas Grey,
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