Corrupted into Song: The Complete Poems of Alvin Feinman
By Alvin Feinman, Harold Bloom and James Geary
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About this ebook
A definitive edition that introduces a major American poet to a new generation of readers
According to Harold Bloom, "The best of Alvin Feinman's poetry is as good as anything by a twentieth-century American. His work achieves the greatness of the American sublime." Yet, in part because he published so sparsely, Feinman remained little-read and largely unknown when he died in 2008. This definitive edition of Feinman's complete work, which includes fifty-seven previously published poems and thirty-nine unpublished poems discovered among his manuscripts, introduces a new generation of readers to the lyrical intensity and philosophical ambition of this major American poet. Harold Bloom, a lifelong friend of Feinman, provides a preface in which he examines Feinman's work in the context of the strongest poets of his generation—John Ashbery, James Merrill, and A. R. Ammons—while the introduction by James Geary, who studied with Feinman at Bennington College, presents a biographical and critical sketch of this remarkable poet and teacher. Corrupted into Song restores Feinman's work to its rightful place alongside that of poets like Hart Crane and Wallace Stevens, with whom his poetry and poetics have so much in common.
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Corrupted into Song - Alvin Feinman
Corrupted into Song
Corrupted into Song
The Complete Poems of Alvin Feinman
Edited by Deborah Dorfman
With a foreword by Harold Bloom and an introduction by James Geary
PRINCETON UNIVERSITY PRESS
PRINCETON AND OXFORD
Copyright © 2016 by Princeton University Press
Introduction copyright © 2016 by James Geary
Foreword copyright © 2016 by Harold Bloom
Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 6 Oxford Street, Woodstock, Oxfordshire OX20 1TW
press.princeton.edu
Jacket art: The Written Sea © Estate of John Marin / Artists Rights Society (ARS), New York
All Rights Reserved
The present volume contains previously unpublished poems in addition to the complete text of Poems, published by Princeton University Press in 1990, which included poems first published in Preambles and Other Poems, Oxford University Press, 1964, with some revisions. A version of The Tree
appeared in Harper’s Magazine, copyright © 1970. Reprinted from the October issue by special permission.
Frontispiece photo of Alvin Feinman courtesy of Deborah Dorfman.
ISBN 978-0-691-17052-7
ISBN (pbk.) 978-0-691-17053-4
Library of Congress Control Number: 2015956951
British Library Cataloging-in-Publication Data is available
This book has been composed in Sabon LT Std
Printed on acid-free paper. ∞
Printed in the United States of America
10 9 8 7 6 5 4 3 2 1
Contents
Foreword by Harold Bloom ix
The Constant Crime of Speech: The Life and Work of Alvin Feinman, by James Geary 1
PREAMBLES
I
Preambles 23
Old World Travelogue 26
Landscape (Sicily) 27
II
Pilgrim Heights 31
The Sun Goes Blind 32
Scene Recalled 33
Solstice 34
Snow 35
Waters 36
Waters (2) 37
Earth and Sorrows 38
III
Relic 41
Three Elementary Prophecies 42
1. For Departure 42
2. For Passage 43
3. For Return 44
What Speaking Silent Enough? 45
That Ground 46
This Face of Love 47
For the Child Unanswered in Her 48
Relic (2) 49
Relic (3) 50
Responsibilities and Farewell 51
The End of the Private Mind 52
This Tree 53
Death of the Poet 54
IV
Statuary SIX POEMS 57
1. Tags, or Stations 57
2. All of This 58
3. Portrait 59
4. Sentinel 60
5. L’Impasse des Deux Anges 61
6. Covenant 62
Noon 63
True Night 64
Annus Mirabilis 65
Mythos 66
Mythos (2) 67
Visitations, Habitats 68
V
November Sunday Morning 71
Stare at the Sea 72
Swathes of March 73
Stills: From a 30th Summer 74
Late Light 75
Day, Daylong 76
Double Poem of Night and Snow 77
Circumferences 78
LISTENING
I
Summer, Afternoon 83
At Sunset 84
Cancellations 85
1. Graffiti 85
2. Hiatus: Between Waking and Waking 86
Nightfall 87
II
Listening FOUR POEMS 91
1. Morning, Arraignment with Image 91
2. The Listening Beasts, the Creatures 92
3. Then Leda 93
4. False Night, or Another 94
Wet Pavement 95
Second Marriage Song 96
THE UNPUBLISHED POEMS
I
The Way to Remember Her 101
For Lucina 102
Letter to Jane 103
For Enid and Jerry 104
Soliloquy of the Lover out of Season 105
The Reading 106
Sunset with Male Figure 108
[ untitled ] 109
[ untitled ] 110
[ untitled ] 111
A Farewell to the Grammarian of the Heart 112
In Praise of Space and Time 113
II
Intruder 117
Lament for the Coming of Spring 118
Backyard, Hoboken, Summer 119
Evening in the Gentile Town 120
The Islander 121
Matinal 122
III
Socratic Adieu 125
Neither/Nor 126
Song 127
Song for Evening 128
Postlude for the Metaphysician 129
[ untitled ] 130
Epilogue: Zone and Invocation 131
The Innocents 132
[ untitled ] 133
[ untitled ] 134
Preamble for a Stone Age 135
Stanzas for W. B. Yeats 136
IV
Song of the Dusting Woman in the Library 139
Natura Naturans 140
An Heretic to Heretics 141
A Motive for the Fallacy of Imitative Form 142
Fragment for the Necessary Angel 143
The True Spain 144
Moon 145
War Dance of the Apocalyptic Pagan 146
Stone Anatomies 147
Foreword
By Harold Bloom
I first met Alvin Feinman in September 1951, the day before I encountered another remarkable young man who also became a lifelong friend, Angus Fletcher. Alvin was twenty-two, a year older than we were, and a graduate student in philosophy at Yale, where Angus and I were students of literature. Alvin, to my lasting sorrow, died in 2008. Of my closest friends I am fortunate still to have Angus, having lost Alvin, Archie Ammons, and John Hollander, three superb poets and majestic intellects.
I am no poet; I cannot forget. Many of my friends are or were poets: Mark Strand, a recent loss; Robert Penn Warren, and happily still with us, William Merwin, John Ashbery, Jay Wright; and younger figures: Rosanna Warren, Henri Cole, Martha Serpas, Peter Cole.
Alvin at twenty-two was already a poet of astonishing individuation: the emergence of voice in him clarified as rapidly as it had in Rimbaud and Hart Crane. I recall reading the first of his three Relic
poems sometime in October 1951:
I will see her stand
half a step back of the edge of some high place
or at a leafless tree in some city park
or seated with her knees toward me and her face turned toward the window
And always the tips of the fingers of both her hands
will pull or twist at a handkerchief
like lovely dead birds at a living thing
trying to work apart something exquisitely, unreasonably joined.
A month later I was introduced by Alvin to this beautiful, intense young woman in New York. Though lovers, she and my friend seemed remote from one another. I watched her hands in constant motion tugging at a handkerchief and wondered silently at the dispassionate tone of the eight-line lyric so precisely called Relic.
Reciting the poem to myself these 60 years I have come to see its relationship to Eliot’s farewell