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Journal articles on the topic 'Levertov'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Wrighton, John. "‘Fear of the Blind’: Political Vision and Postwar Ethics in the Poetry of Denise Levertov." Literature & History 30, no. 2 (2021): 138–54. http://dx.doi.org/10.1177/03061973211041266.

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Denise Levertov is regarded as a key figure in the New American Poetry and a committed political activist of the 1960s counterculture. Reading a treatise on poetry contained in Emmanuel Levinas’s Existence and Existents (1947) alongside Levertov’s early poems prior to her adoption of the American idiom, this essay re-positions the poet as the pathfinder of an intense period of assimilation in the immediate aftermath of the Second World War. The essay focuses on Levertov’s first collection of poems, The Double Image (1946), before turning to the frequently overlooked poems in her notebooks for 1947, in particular, ‘Fear of the Blind’. Examining key tropes of sight, visual impairment and observation, ‘Fear of the Blind’ deals with a personal and political trauma in the birth pains of the postwar period and marks a pivotal moment in Levertov’s lyrical reflexivity. It is the argument of this essay that the de-humanising rhetoric of anti-Semitism traumatised language by driving it against its ethical grain. In response, Levertov's unique poetics of materialism provides not only a revitalisation of language in the lyric form but an important contribution to current political and ethical debates concerning twenty-first century living.

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2

Obed, Rana Jabir. "A Poetic Re-Telling of the Orphic Myth: A Political Study of Denise Levertov’s “A Tree Telling of Orpheus”." Journal of Social Sciences Research, SPI 1 (November 15, 2018): 331–35. http://dx.doi.org/10.32861/jssr.spi1.331.335.

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Modern poets, such as William Butler Yeats, Ezra Pound, William Carlos Williams, Edna St. Vincent Millay, and Rainer Maria Rilke, have used classical myths in a modern context to explain modern issues and to feed up from the rich material of Greek and Roman mythology. Denise Levertov takes the right of all authors to knock into the heart of Western and classical traditions and to reinvent them for her time. Though Levertov’s early poetry expresses her appreciation of nature and of the epiphanic moments of daily life, during the late 1960s her work became progressively concerned with political and social issues. She conveys her offense in poems of distress over Vietnam and of commonality with the alternative culture that opposed the war. Levertov insists upon the connectedness of public and private spheres. The Vietnam War was a major preoccupation of the youth movement of the 1960s, whose protests against it caused the occasional disruption of Levertov’s “A Tree Telling of Orpheus.” This paper aims to retell the Greek myth of Orpheus and his famous song of perception and revitalization, which includes all the aspects of life and rebirth, with a modern revision. Levertov compares the awaking trees captivated by Orpheus’s song along with the awakening of the revolutionary consciousness that lays at the heart of` the countercultural movement of the 1960s.

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3

Lacey, Paul A. "Denise Levertov." Renascence 53, no. 4 (2001): 243–56. http://dx.doi.org/10.5840/renascence20015346.

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4

Chatraporn, Surapeepan. "Denise Levertov: Celebrated Contemporary American Woman Poet of Perceptiveness and Great Wisdom." MANUSYA 4, no. 2 (2001): 1–8. http://dx.doi.org/10.1163/26659077-00402001.

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Denise Levertov possessed an ability to capture and perceive mystical reality in apparently ordinary experience. Her sensitivity to sensuous daily life, her attention to the familiar and her application of the concrete to the spiritual opened the gates of mystery of the world and evoked spiritual insight into the essence and ecrets of life overlooked or unseen by most people. Levertov’s enthusiasm for life in whatever circumstances and her persistent articulation of joy were drawn from her concern of living life to the fullest because only life experienced to the fullest could enrich and enlighten man. Though not defining herself as a feminist, Levertov spoke with a distinctively feminine but strong voice and wisely expressed a contemporary woman’s perpectives on female identity, female strength , female wisdom, and female complexity while subtly advocating sexual equality. Her perceptive views of love and marriage as well as her keen understanding of womanhood well reflected the changing roles and status of contemporary women.

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5

Reid, Su, and Harry Marten. "Understanding Denise Levertov." Modern Language Review 86, no. 3 (1991): 693. http://dx.doi.org/10.2307/3731042.

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6

Block,, Ed. "Interview with Denise Levertov." Renascence 50, no. 1 (1998): 5–15. http://dx.doi.org/10.5840/renascence1997/1998501/220.

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7

Lacey, Paul A. "Denise Levertov as Teacher." Renascence 58, no. 1 (2005): 91–106. http://dx.doi.org/10.5840/renascence200558116.

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8

Jones, Lacey. "‘A Forming Poem’: Towards a Process Poetics." Literature and Theology 33, no. 3 (2019): 262–77. http://dx.doi.org/10.1093/litthe/frz026.

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Abstract Even as theopoetics turns to literary structures and grammatology to arbitrate between an Absolute and Absolute meaninglessness, John Caputo and David Miller are careful to separate its project from theopoetry’s representations of God. But this division makes little provision for figures like Denise Levertov, whose work suggests that the religious question is an inherently aesthetic one, that this arbitration can happen through representation. This article reads Levertov’s ‘The Tide’ in order to define a mode of signification unbound to spiritual fixity. Through its characterisation of both form and faith as process, ‘The Tide’ offers a new way of negotiating the relationship between literature and theology.

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9

Hoeynck, Joshua S. ""A Dialectic of Contrasts": Robert Duncan and Denise Levertov’s Ecological Writing." Process Studies 38, no. 2 (2009): 228–52. http://dx.doi.org/10.2307/44798488.

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Abstract "A Dialectic of Contrasts" details how the mid-twentieth century American poets Robert Duncan and Denise Levertov employed their understanding of Whitehead’s notion of "contrast" to imagine poems closely linked to ecology and cosmology. Exploring the references to Whitehead’s heterogeneous dialectic of contrasts in the Duncan/Levertov correspondence, the article displays the forcible role Whitehead’s thought played in directing the two poets to a linguistic-organic poetics invested in nonhuman agency.

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10

Shapiro, David. "Denise Levertov: Among the Keys." Twentieth Century Literature 38, no. 3 (1992): 299. http://dx.doi.org/10.2307/441523.

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11

Dana Greene. "Denise Levertov: Poet and Pilgrim." Logos: A Journal of Catholic Thought and Culture 13, no. 2 (2010): 94–108. http://dx.doi.org/10.1353/log.0.0073.

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12

Brooker, Jewel Spears. "A Conversation with Denise Levertov." Christianity & Literature 45, no. 2 (1996): 217–24. http://dx.doi.org/10.1177/014833319604500205.

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The Conference on Christianity and Literature sponsored a reading by Denise Levertov at the 1994 Annual Convention of the Modern Language Association in San Diego. In addition, CCL presented the poet with a Lifetime Achievement Award, and president Jewel Spears Brooker interviewed her for Christianity and Literature. The interview, which had to be conducted by mail, was completed in November 1995.

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13

Hyams, Barbara. "Reading Rilke with Denise Levertov." New England Review 34, no. 3-4 (2014): 317–32. http://dx.doi.org/10.1353/ner.2014.0026.

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14

Dewey, Anne. "DENISE LEVERTOV: A POET'S LIFE and A POET'S REVOLUTION: THE LIFE OF DENISE LEVERTOV." Resources for American Literary Study 37 (January 1, 2014): 351–57. http://dx.doi.org/10.5325/resoamerlitestud.37.2014.0351.

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15

Lake, Christina Bieber. "Tasting the Transcendent." Journal of Interdisciplinary Studies 34, no. 1 (2022): 43–58. http://dx.doi.org/10.5840/jis2022341/23.

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Modern views of poetry tend to concord with Wallace Stevens’s insistence that “God and the imagination are one,” assuming that the only meaning there is in the natural world is that which the poet makes. But Denise Levertov held instead that the poet’s word is a response to the beauty of the world as given by God, and that the poet’s task is to invite the reader to resonate with that experience. Drawing on current research from neurocognitive poetics that indicates how readers experience beauty in language, this essay seeks to demonstrate how Levertov’s poem, “O Taste and See,” embodies an invitation for the reader to engage one’s senses in the discovery of God through the beauty of poetry and created being.

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16

Tingley, Stephanie A., and Audrey T. Rodgers. "Denise Levertov: The Poetry of Engagement." American Literature 66, no. 1 (1994): 191. http://dx.doi.org/10.2307/2927468.

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17

Janssen, Ronald R. "Dreaming of Design: Reading Denise Levertov." Twentieth Century Literature 38, no. 3 (1992): 263. http://dx.doi.org/10.2307/441519.

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18

Dimock, Edward C. "Levertov and the Bengali Love Songs." Twentieth Century Literature 38, no. 3 (1992): 283. http://dx.doi.org/10.2307/441521.

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19

Schwartz, Leonard. "Guillevic/Levertov: The Poetics of Matter." Twentieth Century Literature 38, no. 3 (1992): 290. http://dx.doi.org/10.2307/441522.

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20

Lynch, Denise. "Denise Levertov and the Poetry of Incarnation." Renascence 50, no. 1 (1998): 49–64. http://dx.doi.org/10.5840/renascence1997/1998501/223.

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21

Athanases, Steven. "Old Teachers When I Started (After Levertov)." English Journal 91, no. 5 (2002): 91. http://dx.doi.org/10.2307/821411.

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22

PARK, Yeon-Seong. "Hasidism in the Poetry of Denise Levertov." Literature and Religion 20, no. 3 (2015): 67–87. http://dx.doi.org/10.14376/lar.2015.20.3.67.

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23

Zlotkowski, Edward. "Levertov and Christianity: A Journey toward Renewal." Christianity & Literature 41, no. 4 (1992): 443–70. http://dx.doi.org/10.1177/014833319204100408.

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24

Kanary, Jonathan. "Dana Greene, Denise Levertov: A Poet’s Life; Donna Krolik Hollenberg, A Poet’s Revolution: The Life of Denise Levertov." Christianity & Literature 66, no. 4 (2017): 725–28. http://dx.doi.org/10.1177/0148333117692867.

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25

Zlotkowski, Edward. "Levertov and Rilke: A Sense of Aesthetic Ethics." Twentieth Century Literature 38, no. 3 (1992): 324. http://dx.doi.org/10.2307/441525.

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26

Burke, Kevin F. "The Poetry and Poetic Life of Denise Levertov." Spiritus: A Journal of Christian Spirituality 14, no. 2 (2014): 249–55. http://dx.doi.org/10.1353/scs.2014.0048.

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27

Poks, Małgorzata. "The Poet’s “Caressive Sight:” Denise Levertov’s Transactions with Nature." Text Matters, no. 1 (November 23, 2011): 145–52. http://dx.doi.org/10.2478/v10231-011-0011-x.

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The scientific consciousness which broke with the holistic perception of life is credited with "unweaving the rainbow," or disenchanting the world. No longer perceived as sacred, the non-human world of plants and animals became a site of struggle for domination and mastery in implementing humankind's supposedly divine mandate to subdue the earth. The nature poetry of Denise Levertov is an attempt to reverse this trend, reaffirm the sense of wonder inherent in the world around us, and reclaim some "holy presence" for the modern sensibility. Her exploratory poetics witnesses to a sense of relationship existing between all creatures, both human and non-human. This article traces Levertov's "transactions with nature" and her evolving spirituality, inscribing her poetry within the space of alternative—or romantic—modernity, one that dismantles the separation paradigm. My intention throughout was to trace the way to a religiously defined faith of a person raised in the modernist climate of suspicion, but keenly attentive to spiritual implications of beauty and open to the epiphanies of everyday.

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28

Giles, Paul. "American Literature in English Translation: Denise Levertov and Others." PMLA/Publications of the Modern Language Association of America 119, no. 1 (2004): 31–41. http://dx.doi.org/10.1632/003081204x22864.

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The theory of exile as a form of intellectual empowerment strongly influenced writers of the Romantic and modernist periods, when major figures from Byron to James Joyce and Samuel Beckett sought to take advantage of a dissociation from native customs to embrace the authenticity of their art. More recently, however, displacement from indigenous cultures has become such a commonplace that it appears difficult to credit the process of migration with any special qualities of critical insight. Nevertheless, literary scholarship remains to some degree in the shadow of the idealization of “exiles and émigrés” that ran through the twentieth century. Edward Said, a Palestinian in the United States, consistently linked his “politics of knowledge” with a principled alienation from “corporations of possession, appropriation, and power,” while looking back to the exiled German scholar of comparative literature Erich Auerbach as a model for transcending “the restraints of imperial or national or provincial limits” (Culture 335). Julia Kristeva, a Bulgarian in France, associated a similar perspective of estrangement with Christian narratives of exile and purification, along with their negative correlatives, psychological traumas of disinheritance and depression; but she also attributed to the foreign writer a levitating condition of “weightlessness”: “since he belongs to nothing the foreigner can feel as appertaining to everything, to the entire tradition” (32).

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29

MacLeod, Glen G. "THE LETTERS OF DENISE LEVERTOV AND WILLIAM CARLOS WILLIAMS." Resources for American Literary Study 27, no. 1 (2001): 144–46. http://dx.doi.org/10.5325/resoamerlitestud.27.1.0144.

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30

Marshall, Alan. "‘Different Trains’: Denise Levertov, Adolf Eichmann and Moral Blindness." Cambridge Quarterly 46, no. 4 (2017): 344–63. http://dx.doi.org/10.1093/camqtly/bfx030.

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31

Christensen, Peter G. "Chekhov in the Poetry of Howard Moss and Denise Levertov." South Atlantic Review 54, no. 4 (1989): 51. http://dx.doi.org/10.2307/3199797.

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32

Hallisey, Joan F. "Denise Levertov Sings "the unheard music of that vanished lyre"." Renascence 50, no. 1 (1998): 83–95. http://dx.doi.org/10.5840/renascence1997/1998501/225.

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33

Block,, Ed. "Denise Levertov: Artists, Pictures, Poems, and the Path to Conversion." Renascence 67, no. 2 (2015): 81–105. http://dx.doi.org/10.5840/renascence20156728.

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34

MacLeod, Glen G. "The Letters of Denise Levertov and William Carlos Williams (review)." Resources for American Literary Study 27, no. 1 (2001): 144–46. http://dx.doi.org/10.1353/rals.2001.0007.

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35

Østergaard, Edvin. "Moon Music: A Composition of Art and Science in Dialogue." Leonardo 43, no. 3 (2010): 223–28. http://dx.doi.org/10.1162/leon.2010.43.3.223.

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Leonardo da Vinci's careful descriptions of the reflection of light by the moon inspired the author to compose a piece for choir on ways of perceiving the moon. In The Two Moons, Leonardo's words are contrasted with two additional texts: facts from a textbook on astronomy and a poem by Denise Levertov. The author discusses the challenge of transforming text and idea into musical sound. Further he discusses exploring natural phenomena by means of parallel efforts in art and science.

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36

Long, M. C. "Affinities of Faith and Place in the Poetry of Denise Levertov." Interdisciplinary Studies in Literature and Environment 6, no. 2 (1999): 31–40. http://dx.doi.org/10.1093/isle/6.2.31.

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37

Norris, Keith S. "Openmouthed in the Temple of Life: Denise Levertov and the Postmodern Lyric." Twentieth Century Literature 38, no. 3 (1992): 343. http://dx.doi.org/10.2307/441526.

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38

Davidson, Michael. "A Cold War Correspondence: The Letters of Robert Duncan and Denise Levertov." Contemporary Literature 45, no. 3 (2004): 538–56. http://dx.doi.org/10.1353/cli.2004.0022.

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39

Ford, David F. "Who is Jesus Now? Maxims and Surprises." Anglican Theological Review 101, no. 2 (2019): 213–35. http://dx.doi.org/10.1177/000332861910100202.

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This article is a very personal attempt, within the horizon opened up by the Prologue of the Gospel of John and the past century of Christian theology, to articulate seven maxims in answer to the question, Who is Jesus now? The maxims focus on the Gospel story, analogical thought and imagination, living before the face of Jesus, covenantal commitment, being sent as Jesus was sent, reconciliation, and continuing surprises. Key references are to the Gospel of John, Hans Frei, Frances Young, Richard Hays, David Tracy, Denise Levertov, and Jean Vanier, and to ecumenism and Scriptural Reasoning, which relates to all the maxims.

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40

Block, Ed. "Poet, Word, and World: Reality and Transcendence in the Work of Denise Levertov." Logos: A Journal of Catholic Thought and Culture 4, no. 3 (2001): 159–84. http://dx.doi.org/10.1353/log.2001.0025.

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41

Wright-Bushman, Katy. "A Poetics of Consenting Attention: Simone Weil's Prayer and the Poetry of Denise Levertov." Christianity & Literature 62, no. 3 (2013): 369–92. http://dx.doi.org/10.1177/014833311306200305.

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42

Vandersee, Charles, Hank Lazer, Charles Bernstein, et al. "On Equal Terms: Poems by Charles Bernstein, David Ignatow, Denise Levertov, Louis Simpson, Gerald Stern." South Atlantic Review 51, no. 3 (1986): 121. http://dx.doi.org/10.2307/3199662.

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43

Collecott, Diana. "« Mirror-images: images of mirrors... in Poems by Sylvia Plath, Adrienne Rich, Denise Levertov and H.D. »." Revue Française d'Etudes Américaines 30, no. 1 (1986): 449–60. http://dx.doi.org/10.3406/rfea.1986.1248.

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44

Nielsen, Dorothy M., Denise Levertov, and Gary Snyder. "Prosopopoeia and the Ethics of Ecological Advocacy in the Poetry of Denise Levertov and Gary Snyder." Contemporary Literature 34, no. 4 (1993): 691. http://dx.doi.org/10.2307/1208806.

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45

Davidson, Michael. "The Double Agent: NOB / RD." boundary 2 49, no. 3 (2022): 45–53. http://dx.doi.org/10.1215/01903659-9789668.

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Abstract This essay explores the close relationship between the poet Robert Duncan and Norman O. Brown. Their long friendship and shared intellectual interests were generative for both, allowing Brown at one point to remark that the “poetry of Robert Duncan had made the writing of Love's Body possible.” Duncan responded in kind by featuring Brown in “Santa Cruz Propositions,” written while the poet was in residence at the University of California, Santa Cruz. That poem draws on Brown's theories of Eros as a daemonic power to criticize his (Duncan's) old friend, Denise Levertov, whose anti-war poetry he felt had grown shrill and hectoring. At the same time, the poem attempts to draw out Brown's Dionysian, poetic potential. Duncan made Norman O. Brown an unwitting co-conspirator in this effort by attempting to reveal the naked poet beneath the academic robes. Much of the essay is based on correspondence between the two figures.

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46

Wagner-Martin, Linda. "THE CORRESPONDENCE OF WILLIAM CARLOS WILLIAMS AND LOUIS ZUKOFSKY, THE LETTERS OF ROBERT DUNCAN AND DENISE LEVERTOV." Resources for American Literary Study 30, no. 1 (2005): 386–89. http://dx.doi.org/10.2307/26367017.

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47

Wagner-Martin, Linda. "THE CORRESPONDENCE OF WILLIAM CARLOS WILLIAMS AND LOUIS ZUKOFSKY, THE LETTERS OF ROBERT DUNCAN AND DENISE LEVERTOV." Resources for American Literary Study 30, no. 1 (2005): 386–89. http://dx.doi.org/10.2307/resoamerlitestud.30.2005.0386.

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48

Rifkin, Libbie. ""That We Can Somehow Add Each to Each Other?": George Oppen between Denise Levertov and Rachel Blau DuPlessis." Contemporary Literature 51, no. 4 (2010): 703–35. http://dx.doi.org/10.1353/cli.2011.0006.

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49

Eggers, Paul. "Book Review: The Mystic Way in Postmodernity: Transcending Theological Boundaries in the Writings of Iris Murdoch, Denise Levertov and Annie Dillard." Christianity & Literature 61, no. 2 (2012): 331–35. http://dx.doi.org/10.1177/014833311206100218.

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50

Nelson, Paul E. "Neo-Barroco, the Missing Group of the New American Poetry." Humanities 12, no. 1 (2022): 5. http://dx.doi.org/10.3390/h12010005.

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The New American Poetry anthology delineated “schools” of North American poetry which have become seminal: The Black Mountain School (Charles Olson, Robert Creeley, Denise Levertov), the New York School (John Ashbery, Barbara Guest, Frank O’Hara), the San Francisco Renaissance (Robert Duncan, Robin Blaser, Jack Spicer), and the Beats (Allen Ginsberg, Gary Snyder, Michael McClure). The word seminal is used in a traditional way, from the root: “of seed or semen … full of possibilities”, but here also because the work is dominated by men and the omission of poets like Diane di Prima and Joanne Kyger seems especially egregious now. As compared to the whiteness of academic verse of the time, the New American Poetry was radical and more diverse, but could be seen as quite inadequate in those aspects from a contemporary perspective. Of course culture must always be judged in proper context, including its era and the anthology has had a powerful impact on the poetry of the continent from which it came. This paper posits that The New American Poetry, had it looked even slightly off the shore of North America, could have included the Neo-Barroco school of Latin American poetry. The affinities are almost endless and the limited scope of even the most radical poets of the post-war generation is exposed.

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