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OverviewThe Wallflower Avant-Garde highlights a strain of formalism visible in both modernist literature and contemporary queer studies, drawing attention to an aesthetic that is as quiet and quirky as it is queer. In studies of Gertrude Stein, Djuna Barnes, Richard Bruce Nugent, Frank O'Hara, and John Ashbery, Brian Glavey argues for a recalibrated understanding of the relation between sexuality and the aesthetic, revealing a non-oppositional avant-gardism that opts out of some of the binaristic imperatives that have structured recent debates in queer theory. Refusing to decide between positive and negative affects or to side with either utopian or antisocial ambitions, The Wallflower Avant-Garde explores models of reading and writing about art that remain flexible enough to dig deep even as they gloss the surface.At the heart of this argument is a revaluation of modernist ekphrasis, a mode understood as literature's imitation or description of the visual arts. From the well-wrought urns of the New Critics onward, ekphrasis has figured prominently in the legacy of modernist literary criticism, but a tendency to read its complicated modes of relationality in terms of either autonomy or antagonism has obscured the forms of creative failure and imitation embodied in the desire to confuse poetry for pottery. Attending to mimetic and descriptive strategies without dismissing the aspirations for wholeness and closure that often animate them allows for the recognition that queerness and modernism are intertwined in unexpected and unpredictable ways, revealing new insights into the varieties of abstraction, preterition, and spatial form that stand behind modernism's investment in the aesthetic. Full Product DetailsAuthor: Brian Glavey (Assistant Professor, Assistant Professor, University of South Carolina)Publisher: Oxford University Press Inc Imprint: Oxford University Press Inc Dimensions: Width: 24.10cm , Height: 2.30cm , Length: 16.50cm Weight: 0.431kg ISBN: 9780190202651ISBN 10: 0190202653 Pages: 232 Publication Date: 07 January 2016 Audience: College/higher education , Professional and scholarly , Tertiary & Higher Education , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsIntroduction 1 Gertrude Stein's Eye Lessons: Portraits and Pedagogy 2 The Ekphrastic Vice: Djuna Barnes's Spatial Form 3 Squandering Your Potential with Richard Bruce Nugent 4 Frank O'Hara Nude with Boots 5 The Wallflower Avant-Garde: John Ashbery's Shyness, or, Spacing Out with Art Works Cited IndexReviewsGlavey's writing sparkles with wit, and bubbles with intellectual pleasure. His book is a must read. The reader finishes it feeling that considerations of modernist and queer form and affect have achieved a new capaciousness. --Benjamin Kahan, Journal of Modern Literature Glavey engages the tradition of ekphrasis in order to speak up for queer aesthetic practices too shy to vaunt themselves. The Wallflower Avant-Garde argues that writing about the visual arts allowed figures from Gertrude Stein to Frank O'Hara to cultivate new forms of textual and social intimacy. A beautiful example of queer formalism, this book suggests that attending to the rhetoric of description allows for a non-punitive and non-dualistic account of imitation, abstraction, stasis, and silence. --Heather Love, author of Feeling Backward: Loss and the Politics of Queer History Through a sublime set of case studies, The Wallflower Avant-Garde charts a path of interpretation that is entirely fresh, entirely unique, and unabashedly moving in its appreciation of loss and beauty. Glavey has produced a lasting contribution that will interest scholars in the realms of modernist studies, queer studies, art history, and twentieth-century poetics more broadly. --Scott Herring, author of The Hoarders: Material Deviance in Modern American Culture Glavey engages the tradition of ekphrasis in order to speak up for queer aesthetic practices too shy to vaunt themselves. The Wallflower Avant-Garde argues that writing about the visual arts allowed figures from Gertrude Stein to Frank O'Hara to cultivate new forms of textual and social intimacy. A beautiful example of queer formalism, this book suggests that attending to the rhetoric of description allows for a non-punitive and non-dualistic account of imitation, abstraction, stasis, and silence. --Heather Love, author of Feeling Backward: Loss and the Politics of Queer History Through a sublime set of case studies, The Wallflower Avant-Garde charts a path of interpretation that is entirely fresh, entirely unique, and unabashedly moving in its appreciation of loss and beauty. Glavey has produced a lasting contribution that will interest scholars in the realms of modernist studies, queer studies, art history, and twentieth-century poetics more broadly. --Scott Herring, author of The Hoarders: Material Deviance in Modern American Culture Glavey engages the tradition of ekphrasis in order to speak up for queer aesthetic practices too shy to vaunt themselves. The Wallflower Avant-Garde argues that writing about the visual arts allowed figures from Gertrude Stein to Frank O'Hara to cultivate new forms of textual and social intimacy. A beautiful example of queer formalism, this book suggests that attending to the rhetoric of description allows for a non-punitive and non-dualistic account of imitation, abstraction, stasis, and silence. --Heather Love, author of Feeling Backward: Loss and the Politics of Queer History Through a sublime set of case studies, The Wallflower Avant-Garde charts a path of interpretation that is entirely fresh, entirely unique, and unabashedly moving in its appreciation of loss and beauty. Glavey has produced a lasting contribution that will interest scholars in the realms of modernist studies, queer studies, art history, and twentieth-century poetics more broadly. --Scott Herring, author of The Hoarders: Material Deviance in Modern American Culture Glavey engages the tradition of ekphrasis in order to speak up for queer aesthetic practices too shy to vaunt themselves. The Wallflower Avant-Garde argues that writing about the visual arts allowed figures from Gertrude Stein to Frank O'Hara to cultivate new forms of textual and social intimacy. A beautiful example of queer formalism, this book suggests that attending to the rhetoric of description allows for a non-punitive and non-dualistic account of imitation, abstraction, stasis, and silence. --Heather Love, author of Feeling Backward: Loss and the Politics of Queer History Through a sublime set of case studies, The Wallflower Avant-Garde charts a path of interpretation that is entirely fresh, entirely unique, and unabashedly moving in its appreciation of loss and beauty. Glavey has produced a lasting contribution that will interest scholars in the realms of modernist studies, queer studies, art history, and twentieth-century poetics more broadly. --Scott Herring, author of The Hoarders: Material Deviance in Modern American Culture Author InformationBrian Glavey is Associate Professor of English at the University of South Carolina. Tab Content 6Author Website:Countries AvailableAll regions |
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