Word: poetics
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Dates: during 1950-1959
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...ironic to note that Van Gogh, who is the spiritual founder of expressionism, appears strongest in retrospect, not for the emotion which once seemed so audacious but for the poetic discipline which controlled that emotion. Nothing highlights the situation more clearly than the early works of Paul Klee. The etchings Head of Menace and Virgin in a Tree are works of quality and excellent draughtsmanship, yet their overbearing concern for the histrionics of their subject matter works against them. Moreover, the later Klees in the exhibit avoid histrionics, as their subject matter is relegated to a whimsical leitmotif, subordinated...
...action covers the few days up to and after Jay's death in an automobile accident. By sensitively showing the impact of the death on each person, Agee created a novel full of intensely real emotion. The book is a truly poetic work with unity and power that came from a simple, dramatic plot developed through a musically subtle evolution of tone...
...poetic mixture of sight, sound, taste, smell, and touch that makes up a child's world is most beautiful in scenes of Rufus alone written outside the general text: "... (the curtains in the room) ... were touched by the carbon light of the street lamp, they were as white as sugar. The extravagant foliage which had been wrought into them by machinery showed even more sharply white where the light touched, and elsewhere was black in the limp cloth." These scenes were meant to be inserted in the story's sequence a la Faulkner, but Agee died before...
...attack. He was 45, and like the father in his novel, died "in his strength." Unfortunately, he left few works behind him, among them no other novels. His was a unique talent, combining a rare sensitivity to the drama of domestic situations and a just as rare gift for poetic language. It's sad to think that equally fine works might have followed A Death in the Family. The book deserves to be read with the same kind of care he gave to its writing...
Gongora obtained this "new reality" by fusing poetic objects, regardless of their former relations to each other or their former composition, according to Guillen. The new object is as much a reality as the original ones...