Keats, 1997

Compiled by Jonathan Gross, DePaul University

WORKS: COLLECTED, SELECTED, SINGLE , TRANSLATED

Keats, John. Poesia Completa. Trans. Arturo Sanchez. Ra. ed. bilingue. Barcelona: Ediciones 29, 1997.

Keats, John. Selected Poems=Poemes Choisis, ed. Albert Laffay. Paris: Aubier, 1997.

London Symphony Orchestra. Skyscrapers. Compact disc. Albany Records, 1997.

The third work on the CD is "a setting of a poem by Keats."

Mayer, William. Dream's End, Songs & Miniatures: Music for Brass and Winds. Compact disc. CHI, 1997.

"Eve of St. Agnes: for soloists, mixed chorus, and orchestra"; text by Keats.

Rosenberg, Liz, ed. Earth-Shattering Poems. New York: Henry Holt, 1997.

Includes poems by Keats.

Stephens, John Richard, ed. Vampires, Wine & Roses. New York: Berkley Books, 1997.

Includes "Lamia" by Keats.

Arseneau, Mary. "Madeline, Mermaids, and Medusas in 'The Eve of St. Agnes.'" PLL 33 (1997): 227-43.

Aske, Martin. "Still Life with Keats." In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 129-43.

This essay responds to Ian Jack's Keats and the Mirror of Art (1967), which pointed out the importance of "visual art for Keats's poetry" (8). Aske responds to Michael Fried's Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980); he explains Keats' interest in the engravings of the Campo Santo frescoes: they both exclude and enchant the young poet. Aske also discusses Benjamin West's Death on a Pale Horse and Joseph Severn's portrait of "Keats reading," which serves "as a representation of the process of reading Keats" (O'Neill 9).

Bartlett, Thomas. "Put Down that Keats, Maggot!" Business Week (June 30, 1997): 42.

Discusses Dartmouth's business course for liberal-arts majors.

Bergon, Holly St. John. "John Keats in Colorado." Ploughshares 23 (1997): 142-43.

Poem.

Bergquist, Barbara E. "John Keats: The 'Pleasure Thermometer' and 'The Eve of St. Agnes.'" In Romantics/Victorians: Studies in Nineteenth-Century British Poetry, Novel, and Art in Honor of Thomas Richard Sullivan, ed. Elisabeth Sanders Arbuckle. Rio Piedras, PR: Editorial Edil, Decanato de Estudios Graduados e Investigacion, Universidad de Puerto Rico, 1997.

Biswell, Andrew. "Menagerie of the Poet." Guardian (Sept. 25, 1997): 2:10.

Bolker, Joan, ed. The Writer's Home Companion: An Anthology of the World's Best Writing Advice, from Keats to Kunitz. New York: H. Holt and Co., 1997.

Bromwich, David. "Keats and the Aesthetic Ideal." The Yale Review 85.4 (1997): 140-45.

Cavaliero, Roderick. "A Swoon to Death, Keats's Debt to Italy." KSR 11 (1997): 41-52.

This lecture given at the Guildford Institute, University of Surrey (October 26, 1995), discusses the influence of Tasso's Jerusalem Liberated on Keats' "Ode to Apollo"; and of Cary's translation of Dante's Inferno and Milton's Paradise Lost on Keats' The Fall of Hyperion.

Cheuse, Alan. "Traces of Light: The Paradoxes of Narrative Painting and Pictorial Fiction." Antioch Review 55 (1997): 277-91.

Includes an examination of "Ode on a Grecian Urn."

Christie, William. "Intimations of Immortality in Swift and Keats: A Note." RES 48 (1997): 501-3.

Daruwala, Maeck H. "Strange Bedfellows: Keats and Wollstonecraft, 'Lamia' and Berwick." KSR 11 (1997): 83-132.

"While the metrical craft of 'Lamia' owes much to Dryden and the outlines of its story come from Burton, its substance suggests a saturation in A Vindication of the Rights of Women; Keats also made use of Edward Berwick's 1809 The Life of Apollonius of Tyana, Translated from the Greek of Philostratus."

Dean, Dennis R. "Some Quotations in Keats's Poetry." PQ 76 (1997): 69-85.

Dean, William J. "Portrait of Encouragement." Christian Science Monitor (June 11, 1997): 16.

Dubovsky, H. "Hilton's Rest and Pain, Guy's Hospital Personalities and Guy's South African Rugby Connection." South African Medical Journal 87 (1997): 898-900.

Discusses Keats' connection to Guy's Hospital.

Edgecombe, Rodney Stenning. "Keats's Ode 'To Autumn,' Ovid, and Homer." N&Q 44 (1997): 333-34.

Suggests influence of Ovid's Metamorphoses and Chapman's translation of the Odyssey (book 7) on Keats' ode. Ovid uses "adverbs of recurrence to suggest a frequentative ritual," while Homer describes an ideal garden that influenced Keats' description of extremes of cold and warmth in the first line of the poem.

Faith, Simon. "John Keats vs. Bob Dylan: Why Value Judgments Matter." Chronicle of Higher Education (Mar. 14, 1997): A.

Fattorosi, Louis J., and Robert R. Brown, illus. The Golden Lyre: Plays & Satire. 2nd ed. Lakewood: Viminal Books, 1997.

Prometheus Unvanquished recalls Keats' fragments. The prefaces, essays in criticism, "effectively counter modernist clichés."

Faults, Sebastian. "Ode to Rack and Ruin." Guardian (Feb. 4, 1997): 2:4.

Forni, Kathleen. "The Swindling of Chaucerians and the Critical Fate of 'The Floure and the Leafe.'" Chaucer Review 31 (1997): 379-400.

Discusses how Pope and Keats canonized Chaucer's poem "The Floure and the Leafe."

Goodman, Allegra S. "Virtuous Philosopher and Chameleon Poet: The Shakespeare of Samuel Johnson and John Keats." [Doctoral dissertation, Stanford U, 1997], DAI, Vol. 58-07A (1997): 2667.

Interprets Keats' violent reaction to Johnson's reading of Shakespeare; argues for a "dialectic between Johnson's and Keats' opposing interpretations of Shakespeare" and traces the influence of this dialectic on Shakespeare criticism from the nineteenth century until the present. Contrasts Johnson's view that Shakespeare's work is valuable for its moral truths with Keats' belief that Shakespeare's work "is valuable for its transcendently beautiful language."

Hirsch, Edward. "A Hand, and Hook, a Prayer." American Poetry Review 26 (1997): 17-21.

Focuses on Keats' "This Living Hand, Now Warm and Capable," James Wright's "Hook," and Charles Baudelaire's "A Une Heure du Matin."

Jones, Anne Hudson. "Literature and Medicine: Physician-Poets." The Lancet 349:9047 (Jan. 25, 1997): 275-78.

Includes discussion of Keats as physician-poet, contrasting him with William Carlos Williams, Robert Bridges, Miroslav Holub, Dannie Abse, and John Stone.

Keates, Jonathan. "Here Writes One Whose Name Is Writ in Water." Spec (Sept. 27, 1997): 49.

Author discusses problems and expectations he encounters because his name is so similar to that of John Keats.

Kempinski, Tom. "John Keats V Bob Dylan: The Judge's Verdict." Plays and Players (Feb. 1997): 20-21.

Kiss, Erika Anita. "Coincidentia Oppositorum: A Rhetorical Theory of Literature (Poetry, Coincidence, Metaphor, Figure)." [Doctoral dissertation, Harvard U, 1997], DAI, Vol. 58-09A (1997): 3513.

Follows Aristotle, Nietzsche, and Kierkegaard in arguing that "the language employed in literature does not aim at representation but rather at persuasion." Presents a new rhetorical theory of literature marked by anti-Platonism. Close readings of Milton, Shakespeare, Rilke, Nietzsche, Baudelaire, Wordsworth, and Keats.

Lara, Adair. "A Lot of Knowledge Is Dangerous Too." San Francisco Chronicle (Oct. 9, 1997): E10.

Mauer, Barbara Diane. "Yellow Afternoons along the Hilo Coast (Original Writing, Poetry, Brigit Peegen Kelly)." [M.A. Thesis, Mississippi State U, 1997], MAI, 35-06 (1997): 1606.

McCarthy, Patrick A. "Allusions in Ballard's 'The Drowned World.'" Science-Fiction Studies 24 (1997): 302-10.

McGarry, Eugene P. "Incarnation and Intertextuality in Faulkner's Major Novels." [Doctoral dissertation, U of Pennsylvania, 1997], DAI, Vol. 58-07A (1997): 2657.

Discusses the relationship between Faulkner's Light in August and Keats' "Ode on a Grecian Urn" in terms of fictional constructions of race and gender. "Faulkner's female Christ figures--Caddy Compson in The Sound and the Fury, Addie Bundren in As I Lay Dying, and Temple Drake in Sanctuary--suffer metaphorical crucifixion when they violate the written and unwritten laws of patriarchy, while his mulatto Christs--Joe Christmas in Light in August and Charles Bon in Absalom, Absalom!--suffer for circumventing the segregational practices codified in Jim Crow legislation."

Moore, Geoffrey. Great English Poets: John Keats. New York: Random House, 1997.

Mori, Masaki. Epic Grandeur: Toward a Comparative Poetics of the Epic. Albany: SUNY P, 1997.

Compares Keats' Fall of Hyperion and Miyazawa Kenji's Ginga Tetsudo no Yoru.

Motion, Andrew. Keats. London: Faber and Faber, 1997.

Mullan, John. "A Slow Death in a Short Life as John Keats 'Biographise Himself,' What More Is There to Be Said?" Guardian (Sept. 25, 1997): 2:11.

Najarian, James. "'Curled Minion, Dancer, Coiner of Sweet Words': Keats, Dandyism, and Sexual Indeterminacy in Sohrab and Rustum." VP 35 (1997): 23-42.

Nye, Naomi Shihab. "Keats in Burns Country Etcetera." In The Writer's Journal: 40 Contemporary Authors and Their Journals, ed. Sheila Bender. New York: Delta, 1997.

O'Neill, Michael. "Introduction." In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 1-10.

Lucid, historically contextualized summaries of the contents of the volume. I have drawn on O'Neill's introduction for my summaries of individual contributors.

O'Neill, Michael. "Keats's Poetry: 'The Reading of an Ever-Changing Tale.'" In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 102-28.

Keats' relevance resides in the way "his wholehearted pursuit of poetic excellence is crossed (though never deflected) by a fear that poetry may itself be 'a mere Jack a lanthern'" (106). The drama of "Ode to a Nightingale" has much to do with Keats' sense of the burden of imaginative experience; "Ode on Indolence" exlores "the poet's wish not to be stirred out of an 'indolence' at once fruitless and potentially fertile" (8). O'Neill argues that there is "a complicatedly unknowing element in Keats' knowingness and a hauntingly conscious dimension to his work at its most raptly self-forgetful" (8).

O'Neill, Michael, ed. Keats: Bicentenary Readings. Edinburgh: Edinburgh UP for the U of Durham, 1997.

This volume attempts to reassess the direction of Keats criticism in light of Jerome McGann's important article, "Keats and the Historical Method in Literary Criticism" (Modern Language Notes, 1979); Paul H. Fry's and Vincent Newey's responses; Margaret Homans' "Keats Reading Women, Women Reading Keats" (Studies in Romanticism, 1990), which explored gender-based approaches to his poetry; Marjorie Levinson's Keats's Life of Allegory: The Origins of a Style (1988); John Barnard's John Keats (1987); Nicholas Roe's Keats and History (1995); and Andrew Bennett's Keats, Narrative and Audience: The Posthumous Life of Writing (1994). "The reader of the collection will, I hope, get a revitalised understanding of where major aspects of Keats criticism have reached and are heading in the 1990s" (3). Essays by Michael O'Neill, Nicholas Roe, Fiona Robertson, David B. Pirie, J. R. Watson, Gareth Reeves, Martin Aske, and Timothy Webb.

Pirie, David B. "Old Saints and Young Lovers: Keats's Eve of St. Mark and Popular Culture." In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 49-70.

"Watchers in a church porch or churchyard" are "given a ghostly vision of those who were to die during the following year" (5). The heroine (Bertha) of Eve. of St. Mark "may have cheated herself by contemplating only this one superstition, blinding herself to numerous other far jollier traditions" (57) associated with St. Mark's Eve.

Reed, Mary. "Autumn Verse." Weatherwise 50.5 (1997): 37.

Reed discusses why autumn is her favorite season; presents excerpts of ode "To Autumn."

Reed, W. L. "Soul Making: Art, Therapy, and Theology in Keats, Hillman, and Bakhtin." Religion and Literature 29 (1997): 145.

Reeves, Gareth. "The Inward Keats: Bloom, Vendler, Stevens." In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 88-101.

Reeves is concerned with the "American reception of Keats" in the light of the "strong post-Romantic strain" (88) in American poetry (and criticism) this century (7). He discusses Wallace Stevens' Keatsian inheritance and considers "Sunday Morning" as standing "at a cerebral distance from Keats' 'Ode on a Grecian Urn'" (96). Reeves is concerned with the "inward" Keats defined by American critics Harold Bloom and Helen Vendler.

Robertson, Fiona. "Keats's New World: An Emigrant Poetry." In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 27-48.

This essay considers Amy Clampitt's "Voyages: A Homage to John Keats," in What the Light Was Like (1985), which discusses the importance to Keats of "the/still unimagined West" ("The Elgin Marbles"). Robertson explores Keats' writings about America, focusing on his letters to George and Georgiana Keats after their emigration to America; "On First Looking into Chapman's Homer"; and "What can I do to drive away/Remembrance from my eyes." Robertson suggests that "the Keats who describes a disagreeably down-market United States is not immediately recognisable as the radical of recent critical reinvention" (27).

Roe, Nicholas. "A Cockney Schoolroom: John Keats at Enfield." In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 11-26.

Roe argues that Clarke's "Recollections of John Keats" plays down the "political and religious dissent" (12) of Enfield School. Keats was not the "uneducated and flimsy stripling" he was represented as being by Blackwood's, a myth refined by Shelley in Adonais. Keats' "boyish incapacity for the world" (13) has led to readings of his poetry that stress its lack of interest in politics and history (3).

Roe, Nicholas. John Keats and the Culture of Dissent. Oxford: Clarendon P, 1997.

Overturns received ideas about Keats as a poet of "beauty" and "sensuousness," highlighting the political perspectives of his works. Offers new research about Keats' early life that opens new perspectives on his poetry.

Rudanko, Martti Juhani. Linguistic Analysis and Text Interpretation: Essays on the Bill of Rights and on Keats, Shakespeare, and Dreiser. Lanham, MD: UP of America, 1997.

Said, Edward. "From Silence to Sound and Back Again: Music, Literature, and History." Raritan 17:2 (Fall 1997): 1-21.

Discusses Keats' "Ode on a Grecian Urn" as a debate between sound and silence and compares this with themes developed in John Cage's Silence (1961). Cage's "anarchic sense of humor was put to the service of an anti-aesthetic: the idea was to free music from the authoritarianism of Wagner and Schonberg, and to put silence on an equal footing with sound."

Severn, Joseph. From the Life: Joseph Severn to John Taylor, 21 January 1825. New Rochelle, NY: J.L. Weil, 1997.

Transcript of a letter and a reproduction of a deathbed portrait of Keats.

Stillinger, Jack. "Multiple Readers, Multiple Texts, Multiple Keats." JEGP 96 (1997): 545-66.

Sullivan, K. E. Keats: Truth and Imagination. New York: Harvill P, 1997.

For young adults.

Wallace, Jennifer. "Keats." In Lives of the Great Romantics II: Keats, Coleridge, and Scott by Their Contempories, ed. John Mullan, Jennifer Wallace, Ralph Pite, and Fiona Robertson. Brookfield, Vt.: Pickering & Chatto, 1997.

Ward, David. "Keats Softly, Softly Lays Down the Law: David Ward Finds Council Turning to Poetry to Keep Its Parks in Order." Guardian (Feb. 18, 1997): 5.

Watson, J. R. "Keats and Silence." In Keats: Bicentenary Readings. (Edinburgh: Edinburgh UP for the U of Durham, 1997): 71-87.

Watson explores "silence" as a trope in "On the Grasshopper and Cricket," "On First Looking into Chapman's Homer," Hyperion, and "Ode on a Grecian Urn." In these and other works, Keats struggles to "overcome the silence that is itself a form of burial" (76). Watson makes use of Nina Coltart's diagnosis of "the silent patient syndrome" (72).

Webb, Timothy. "'Cutting Figures': Rhetorical Strategies in Keats's Letters." In Keats: Bicentenary Readings (Edinburgh: Edinburgh UP for the U of Durham, 1997): 144-69.

Webb discusses the experience of reading Keats' letters. He responds to Lionel Trilling's 1951 essay "The Poet as Hero: Keats in His Letters" and Christopher Ricks' Keats and Embarrassment (1974). "Perhaps we know Keats's letters so well that we have forgotten how to read them" (144), Webb asserts. He argues for Keats' "self-awareness" (149) and shows how the poet can "assert the imaginative liberty of the writer and, at the same time...demonstrate its limitations" (167).