Wallace Stevens the poet and Wallace Stevens the insurance executive: for more than one critical generation it has seemed as if these two men were unacquainted--that Stevens was a poet who existed only in the rarefied world of language. However, the idea that Stevens lived a double life, the author maintains, is misleading. This compelling book uncovers what Stevens liked to think of as his "ordinary" life, a life in which the demands of politics, economics, poetry, and everyday distractions coexisted, sometimes peacefully and sometimes not. Examining the full scope of Stevens's career (from the student-poet of the nineteenth century to the award-winning poet of the Cold War years), Longenbach reveals that Stevens was not only aware of events taking place around him, but often inspired by those events. The major achievements of Stevens's career are shown to coalesce around the major historical events of his lifetime (the Great Depression and two World Wars); but Longenbach also
dwells on Stevens's two extended periods of poetic silence, exploring the crucial aspects of Steven's life that were not exclusively poetic. Longenbach demonstrates that through Stevens's work in surety law he was far more intimately acquainted with legal and economic concerns than most poets, and he consequently thought deeply about the strengths--and, equally important, the limitations--of poetry as a social product and force.
Industry Reviews
"Longenbach has crafted a strong personal interpretation of Stevens' poetry that deserves a place among the half-dozen major studies of Stevens on our shelves."--Wallace Stevens Journal
"An intelligent in-depth study."--Ken Norris, University of Maine
"Deftly mixes biography and criticism....Longenbach himself writes a plain, clear prose, which keeps his arguments refreshingly clear."--Washington Post Book World
"In convincingly linking Stevens' work with world events and movements, Longenbach may succeed in stripping some of the otherworldly aura from Stevens' work and encourage even non-academics to listen more closely to the blue guitar."--Hartford Courant
"Closely reasoned, clearly recited, Mr. Longenbach's purposes are severe and designed: he would read Stevens with the undistracted assumption that, as the poet said at the end, 'there is a conflict, there is a resistance involved.' This comes to no less, and no worse, than proposing against the three famous stipulations for a Supreme Fiction (pleasure, change, abstraction), three ulterior demands for responses to pain, sameness, plain sense. Ransacking
(and often overruling) a whole library of critics and biographers, though always with amenity, Longenbach tenably proposes a Stevens on the wrong side of Paradise, and reminds us as he proceeds that we now
read our greatest (twentieth-century American) poet as we have learned to read Dante, against the grain of his ideas and his time, treasuring, at last, the contingencies we once thought it was such a glory to transcend. Per astra ad ardua.--Richard Howard
"Longenbach has crafted a strong personal interpretation of Stevens' poetry that deserves a place among the half-dozen major studies of Stevens on our shelves."--Wallace Stevens Journal
"An intelligent in-depth study."--Ken Norris, University of Maine
"Deftly mixes biography and criticism....Longenbach himself writes a plain, clear prose, which keeps his arguments refreshingly clear."--Washington Post Book World
"In convincingly linking Stevens' work with world events and movements, Longenbach may succeed in stripping some of the otherworldly aura from Stevens' work and encourage even non-academics to listen more closely to the blue guitar."--Hartford Courant
"Closely reasoned, clearly recited, Mr. Longenbach's purposes are severe and designed: he would read Stevens with the undistracted assumption that, as the poet said at the end, 'there is a conflict, there is a resistance involved.' This comes to no less, and no worse, than proposing against the three famous stipulations for a Supreme Fiction (pleasure, change, abstraction), three ulterior demands for responses to pain, sameness, plain sense. Ransacking
(and often overruling) a whole library of critics and biographers, though always with amenity, Longenbach tenably proposes a Stevens on the wrong side of Paradise, and reminds us as he proceeds that we now
read our greatest (twentieth-century American) poet as we have learned to read Dante, against the grain of his ideas and his time, treasuring, at last, the contingencies we once thought it was such a glory to transcend. Per astra ad ardua.--Richard Howard
"Professor Longenbach's Wallace Stevens: The Plain Sense of Things is a fascinating book that heroically pursues--and captures--the rigors and complexities, as well as the extraordinary pleasures, of Stevens' poetic ideas."--Theodore Weiss
"This distinguished book sets forth the Stevens that we will be reading for at least the next three decades: a Stevens in close touch with political and social conditions, a Stevens whose poetry arises from the texture of his times."--Louis Martz
"Wallace Stevens: The Plain Sense of Things is a thoughtful, complete, and carefully researched examination of Stevens's entire career....Longenbach's book will...become a classic of Stevens criticism, one providing not only a coherent argument for the political and social importance of Stevens's work, but also a carefully nuanced portrait of the events and debates in which that work takes place. With this book, Longenbach has made an important
contribution to our thinking about Wallace Stevens."--Criticism
"An impressive and important reassessment of Stevens."--American Literature
"Covers the whole of Steven's career, from the time he was an aspiring fin-de-siecle student-poet at Harvard to his celebrated final years."--Harvey Teres
"Disarmingly powerful first chapter!"--Harvey Teres
"Well written, with a supple, witty prose style that helps avoid reductive models of historicizing interpretation."--Modern Philogy
