Reviews
"Wallace Stevens: The Plain Sense of Things is a thoughtful, complete, andcarefully researched examination of Stevens's entire career....Longenbach's bookwill...become a classic of Stevens criticism, one providing not only a coherentargument for the political and social importance of Stevens's work, but also acarefully nuanced portrait of the events and debates in which that work takesplace. With this book, Longenbach has made an important contribution to ourthinking about Wallace Stevens."--Criticism, "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, "Longenbach has crafted a strong personal interpretation of Stevens'poetry that deserves a place among the half-dozen major studies of Stevens onour shelves."--Wallace Stevens Journal, "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, 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 againstthe 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 onthe 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 astraad ardua.--Richard Howard|9780195070224|, Closely reasoned, clearly recited, Mr. Longenbach's purposes are severeand designed: he would read Stevens with the undistracted assumption that, asthe 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 famousstipulations for a Supreme Fiction (pleasure, change, abstraction), threeulterior demands for responses to pain, sameness, plain sense. Ransacking (andoften overruling) a whole library of critics and biographers, though always withamenity, Longenbach tenably proposes a Stevens on the wrong side of Paradise,and reminds us as he proceeds that we now read our greatest (twentieth-centuryAmerican) poet as we have learned to read Dante, against the grain of his ideasand his time, treasuring, at last, the contingencies we once thought it was sucha glory to transcend. Per astra ad ardua.--Richard Howard|9780195070224|, "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 ofStevens'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, "Professor Longenbach's Wallace Stevens: The Plain Sense of Things is afascinating book that heroically pursues--and captures--the rigors andcomplexities, as well as the extraordinary pleasures, of Stevens' poeticideas."--Theodore Weiss, "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, "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, "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, "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, "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 otherwordly aura from Stevens'work and encourage even non-academics to listen more closely to the blueguitar."--Hartford Courant, "Deftly mixes biography and criticism....Longenbach himself writes aplain, clear prose, which keeps his arguments refreshingly clear."--WashingtonPost Book World
