- Gebundene Ausgabe: 352 Seiten
- Verlag: Univ of Iowa Pr (April 2006)
- Sprache: Englisch
- ISBN-10: 0877459762
- ISBN-13: 978-0877459767
- Größe und/oder Gewicht: 23,6 x 16,3 x 2,8 cm
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Amazon Bestseller-Rang:
Nr. 988.361 in Englische Bücher (Siehe Top 100 in Englische Bücher)
- Nr. 49 in Englische Bücher > Belletristik > Weltliteratur > USA > Asiatisch-Amerikanisch
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Gary Snyder and the Pacific Rim
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Produktbeschreibungen
Pressestimmen
“Through a detailed study of Gary Snyder's roots/routes to Asia, Timothy Gray has written an original, historically informed, solidly researched, and finely speculative book on the cultural, ecological, and libidinal geopolitics of the Pacific Rim. Moving beyond the psycho-biography of a single-author study, Gray's text will help to decode the U.S. global imaginary of Asia in interesting new ways.”---Rob Wilson
“In this superb book, Timothy Gray offers a capacious survey of Gary Snyder's contributions to the new American poetry of the 1950s and 1960s as well as to the imagined communities produced through that poetry. By looking at Snyder's relationship to the Pacific Rim, Gray provides a critical regionalist view that contests more entrepreneurial versions.”---Michael Davidson
“In this superb book, Timothy Gray offers a capacious survey of Gary Snyder's contributions to the new American poetry of the 1950s and 1960s as well as to the imagined communities produced through that poetry. By looking at Snyder's relationship to the Pacific Rim, Gray provides a critical regionalist view that contests more entrepreneurial versions.”---Michael Davidson
Kurzbeschreibung
In Gary Snyder and the Pacific Rim, Timothy Gray draws upon previously unpublished journals and letters as well as his own close readings of Gary Snyder's well-crafted poetry and prose to track the early career of a maverick intellectual whose writings powered the San Francisco Renaissance of the 1950s and 1960s. Exploring various aspects of cultural geography, Gray asserts that this west coast literary community seized upon the idea of a Pacific Rim regional structure in part to recognize their Orientalist desires and in part to consolidate their opposition to America's cold war ideology, which tended to divide East from West. The geographical consciousness of Snyder's writing was particularly influential, Gray argues, because it gave San Francisco's Beat and hippie cultures a set of physical coordinates by which they could chart their utopian visions of peace and love. Gray's introduction tracks the increased use of “Pacific Rim discourse” by politicians and business leaders following World War II. Ensuing chapters analyze Snyder's countercultural invocation of this regional idea, concentrating on the poet's migratory or “creaturely” sensibility, his gift for literary translation, his physical embodiment of trans-Pacific ideals, his role as tribal spokesperson for Haight-Ashbury hippies, and his burgeoning interest in environmental issues. Throughout, Gray's citations of such writers as Allen Ginsberg, Philip Whalen, and Joanne Kyger shed light on Snyder's communal role, providing an amazingly intimate portrait of the west coast counterculture. An interdisciplinary project that utilizes models of ecology, sociology, and comparative religion to supplement traditional methods of literary biography, Gary Snyder and the Pacific Rim offers a unique perspective on Snyder's life and work. This book will fascinate literary and Asian studies scholars as well as the general reader interested in the Beat movement and multicultural influences on poetry.
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The Rim and Beyond
19. September 2009
Format:Gebundene Ausgabe
Must be tough writing a book about a living figure, particularly a living legend like Gary Snyder, just about the last of the West Coast New American poets from the Beat Generation. (Thank goodness we have McClure and Ferlinghetti in the dugout.) But Gray lets very little of the embarrassment or anxiety that would otherwise underlie a project like his penetrate his book. In that, he's assisted by the apparently open and generous nature of his subject--who's even shown naked on the cover of the book, as if to allegorize a spiritual or aethetic nakedness, vulnerability, or humility, take your pick. But in addition, Gray isn't trying to find out what sort of guy Gary Snyder is. (So that simplifies things.) Instead, Gray's focus is somewhat larger and involves our understanding of the so-called Pacific Rim.
Where'd this concept come from? It is a cartographer's dream, that people are tracing with one finger the shoreline of an entire ocean from continent to continent, then watching the lands cross pollinate themselves over the water, like migrant birds bringing seeds of marrocain to Easter Island. Gray deplores recent attempts to delimit the concept of the Rim to 80s and 90s business propaganda--open markets, cheap foreign labor; the godfathers of this concept then would be Nixon and Kissinger and their drive to open China to western business in the 1970s. Gray urges us to look further back, to two earlier initiatives, if we would understand the murky geopolitics of the Pacific Rim and what it means to our nation's soul and ambition. One such initiative came in the wake of the Pacific-Panama Exposition, the San Francisco World's Fair of 1939, which widened the scope of SF cultural interests while of course glamorizing or exoticizing Asian imput. The other was the influence of Ernest Fenellosa, distorted and amplified through the propagation of his faith by his disciple Ezra Pound. Into this vortex Gary Snyder stands as a third way, with his Buddhist inflected texts including RIPRAP, RIVERS AND MOUNTAINS, and THE BACK COUNTRY.
The paradox is that, no matter how far Snyder would travel, he always came back home, though the place of "home" changed radically evbery time he hit it. The local and the global, as separate entities pounding against each other like rocks at the beach, gave his work an energy that exactly answered a need.
Recent New Yorker profile on Gary Snyder renewed interest in the venerable Beat era shaman, but Patrick Gray goes the New Yorker one better by actually presenting an account of substance and style. Book focuses on a particular period of Snyder's writing, and perhaps there we see Gray's judgment that perhaps the neglected work isn't as interesting or provocative as the best of it. But if you had a critic without opinions, you'd really be up one of those legendary Snyderesque creeks, and where's the paddle? Warmly recommended.
Where'd this concept come from? It is a cartographer's dream, that people are tracing with one finger the shoreline of an entire ocean from continent to continent, then watching the lands cross pollinate themselves over the water, like migrant birds bringing seeds of marrocain to Easter Island. Gray deplores recent attempts to delimit the concept of the Rim to 80s and 90s business propaganda--open markets, cheap foreign labor; the godfathers of this concept then would be Nixon and Kissinger and their drive to open China to western business in the 1970s. Gray urges us to look further back, to two earlier initiatives, if we would understand the murky geopolitics of the Pacific Rim and what it means to our nation's soul and ambition. One such initiative came in the wake of the Pacific-Panama Exposition, the San Francisco World's Fair of 1939, which widened the scope of SF cultural interests while of course glamorizing or exoticizing Asian imput. The other was the influence of Ernest Fenellosa, distorted and amplified through the propagation of his faith by his disciple Ezra Pound. Into this vortex Gary Snyder stands as a third way, with his Buddhist inflected texts including RIPRAP, RIVERS AND MOUNTAINS, and THE BACK COUNTRY.
The paradox is that, no matter how far Snyder would travel, he always came back home, though the place of "home" changed radically evbery time he hit it. The local and the global, as separate entities pounding against each other like rocks at the beach, gave his work an energy that exactly answered a need.
Recent New Yorker profile on Gary Snyder renewed interest in the venerable Beat era shaman, but Patrick Gray goes the New Yorker one better by actually presenting an account of substance and style. Book focuses on a particular period of Snyder's writing, and perhaps there we see Gray's judgment that perhaps the neglected work isn't as interesting or provocative as the best of it. But if you had a critic without opinions, you'd really be up one of those legendary Snyderesque creeks, and where's the paddle? Warmly recommended.
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