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Guest Barbara:     more books (100)

Miniatures and Other Poems. by Barbara. GUEST, 2002 Durer in the Window: Reflexions on Art by Barbara Guest, 2003-01-01 Herself Defined by Barbara Guest, 1984 The Location Of Things by Barbara Guest, 1960 Biography. by Barbara. GUEST, 1980 Miniatures and Other Poems (Wesleyan Poetry Series) by Barbara Guest, 2002-09-24 Sesheta #2 Spring 1972 Issue by Joe, Guest, Barbara, Baxter, Glen, Bockris, Victor, Schuyler, James et al Brainard, 1972 Moscow Mansions: Poems by Barbara Guest, 1973-01-01 Herself Defined, H. D. and Her World by Barbara Guest, 2003 UNITED ARTISTS TEN - April 1980 by Bernadette and Lewis Warsh (Editors); Bill Berkson, Cark Coolidge, Barbara Guest, Russell Banks, Carl Solomon, Fanny Howe, Allen Ginsberg, et al (Contributors) MAYER, 1980 Reader VI. by Robin; Guest, Barbara; Harwood, Lee. BLASER, 1998 If So, Tell Me. by Barbara. GUEST, 2001 Between Worlds Number Two by Mina, Guest, Barbara, Hirschman, Jack, Porter, Bern et al Loy, 1961 Fay Lansner by Barbara & Irving Sandler Guest, 1976-01-01

lists with details

41. RentalVU.com
    Photo listings of apartments, houses, condos, guest houses and studio rentals in Santa barbara.  
    http://RentalVU.com

42. Jacket Magazine Redirection Page
    Jacket 10.  
    http://www.jacket.zip.com.au/jacket10/index.html

43. Santa Barbara Hotels, Inn At East Beach
    Santa barbara lodging facility guide to guest rooms, amenities, private heated pool, and reservations.  
    http://www.innateastbeach.com

44. Alphamusic - The Confetti
    Translate this page Sonntag, den 09. Februar 2003. guest, barbara The Confetti Trees Buch SUN+ MOON PR VÖ-Datum 9/1999 Bestell-Nr. 1-55713-390-5 11.98 EUR. 72.  
    http://www.alphamusic.info/905/1557133905.html
    
    Extractions: unsere Produktdatenbank wird derzeit aktualisiert. Daher können wir Ihnen im Augenblick nicht das von Ihnen gesuchte Original-Produkt anzeigen, sondern stellen Ihnen interessante Auktionen zu Ihrem Suchbegriff vor. Melden Sie sich jetzt bei Ebay an und bieten Sie für diese interessanten Produkte mit. Ihr Alphamusic-Team Leider keine Treffer gefunden. Ausschlussklausel

45. Barbara Guest/Anne Dunn, Stripped Tales
    Book review by Kevin Killian.  
    http://www.poetry.org/issues/issue1/alltext/rvkil.htm

46. Jacket 10 Charles Bernstein Introduces Barbara Guest
    Charles Bernstein Introducing barbara guest Frost Medal, Poetry Society of Americaat the Celeste Bartos Forum of the New York Public Library, April 23, 1999.  
    http://www.jacket.zip.com.au/jacket10/bernstein-on-guest.html
    
    Extractions: I T IS MY EXTRAORDINARY HONOR to say a few words about a poet whom I admire enormously and whose work has been an abiding presence for me throughout my writing life. A writer's achievement is not only measured in books but also in performances, encounters, exchanges, and in that hard-to-track aura that shapes our perception of the author's work as well as the literature of her time. In any case, a starting point for any response to Barbara Guest's work would have to start with this list: The Location of Things (Tibor de Nagy, 1960)

47. Thomas Gray - The Academy Of American Poets
    The Academy of American Poets presents biographies, photographs, selected poems, and links as part of its online poetry exhibits.  
    http://www.poets.org/poets/poets.cfm?prmID=734

48. Jacket 10 Marjorie Welish (on Barbara Guest) I The Lyric
    CONTENTS HOMEPAGE JACKET TEN OCTOBER 1 9 9 9. Marjorie Welish(on barbara guest) The Lyric Lately (a workin-progress) . . .  
    http://www.jacket.zip.com.au/jacket10/welish-on-guest.html
    
    Extractions: L ET US TAKE the lyric to be non-imitative, verbal music. Let us take the language of reference in decomposition. Let us examine the residuum. In the poetry of Barbara Guest, language stains the page with language: words, material yet not literal. The poet talking to herself is not at issue, given that, in her lyrics, indirect fragment re-cognizes the direct statement of intimate self- revelation. The impersonal, not the personal, is valid. The idiom is not that of speech but that of writing. Mellifluous? Very. In Guest's recent lyric - in part through rhythmic regularities and the marked privileging of assonance - musicality prevails. Indeed, in Quill, Solitary APPARITION (The Post-Apollo Press, 1996) verbal music points to itself self-referentially. More than once in conversation, furthermore, Guest has said: I heard it first and wrote it afterwards. By this, I take it she means that the formal and material stuff of composition set the terms of the poetics and determined the practice. And that from the outset her text comes about by way of syllabic acoustic relations which phase in and out of associations at the expense of given subject matter. Let us further notice the literariness through which the classical legend, the medieval quest, and the gothic manse, are the sites of romance that float in mention yet are ultimately resisted. With diction from romance, and events from biography made opaque through suppression of fact (to rid biography of positivism), Guest decomposes reference, re-composes the modem fragment in a-syntactic arrays on the pages given over to the poem. In

49. The Gendered Marvelous: Barbara Guest By Rachel Blau DuPlessis
    Selections from the essay by Rachel Blau DuPlessis.  
    http://www.scc.rutgers.edu/however/v1_1_1999/rbgendered.html
    
    Extractions: Selections from The gendered marvelous: Barbara Guest, surrealism, and feminist reception by Rachel Blau DuPlessis In her writing, Barbara Guest commemorates an artist's longing for that "tinge on her left retina something like tequila, a rough peppery hotness she called it the 'flavor of eyes.'" (Guest SP, 76) These aspects of her range of pleasures and intelligence, her "painterly witness" (in Kathleen Fraser's words) combined with "her skeptical wariness of language's confinement and oversimplification" ( Fraser 1993, 56) are certainly characteristic of the general ferment known as The New York School in which painters mixed with poets in a coterie atmosphere of play, performativeness, and pleasure. Indeed, as Fraser points out, Guest "was the only woman poet in the first generation of the New York School." (Fraser 1993, 56) However, Fraser continues, thereupon comes a notable glitch in the construction of literary history. Reception and dissemination are never neutral phenomena, and it is often at this point that the familiar bumbling occurs ("honey, I lost women's writing"). Guest was scandalously excluded from a defining anthology of that New York School in which she had been a key participant, An Anthology of New York Poets

50. Barbara Geraghty: Homeopath In Wimbledon, London, SW19
    Wimbledon, London Homeopathic practitioner.Category Regional Europe Homeopathy Practitioners and Clinics barbara Geraghty is our guest Writer about Homeopathy. barbara may be contactedon 020 8946 4950 for further details or to arrange an appointment.  
    http://www.wimbledonvisitor.com/bghomeo/

51. Barbara Guest: Gedichte Aus 'Moscow Mansions'
    Translate this page barbara guest. Einige Gedichte aus Moscow Mansions. Ich habe barbara guestschon immer für eine der größten Lyrikerinnen dieses Landes gehalten.  
    http://www.jbeilharz.de/guest/moscow_mansions.html

52. Barbara Guest If So, Tell Me
    Review by Geoff Ward.  
    http://www.jacket.zip.com.au:80/jacket10/ward-on-guest.html
    
    Extractions: B ORN IN 1920 in North Carolina, Barbara Guest spent her childhood in Florida and California, graduating from Berkeley before moving to New York. It was in the 1960s in New York City that she made a name as a poet, connecting not only with the New York School writers Frank O'Hara, John Ashbery and James Schuyler, but also the painters of the Abstract Expressionist movement, whose replacement of representation by gesture would (along with other painterly attributes) influence her poetry. Some startling and experimental collections over the next decade - most famously Moscow Mansions (1973) and The Countess from Minneapolis (1976) - set her work at a critical distance from both the autobiography and overt emotionalism of O'Hara and Schuyler and the protracted vocalisation and syntax of meditation that characterise Ashbery. Guest's work seemed to run on a parallel track to the innovations of the Language group, while speaking through traditions of aestheticism and of female-authored modernism, yet simultaneously showing no group affiliations at all.

53. The Gendered Marvelous: Barbara Guest By Rachel Blau DuPlessis
    gendered marvelous barbara guest, surrealism, feminist reception by RachelBlau DuPlessis. Selections from guest, barbara. Fair Realism.  
    http://scc01.rutgers.edu/however/v1_1_1999/rbgendered.html
    
    Extractions: Selections from The gendered marvelous: Barbara Guest, surrealism, and feminist reception by Rachel Blau DuPlessis In her writing, Barbara Guest commemorates an artist's longing for that "tinge on her left retina something like tequila, a rough peppery hotness she called it the 'flavor of eyes.'" (Guest SP, 76) These aspects of her range of pleasures and intelligence, her "painterly witness" (in Kathleen Fraser's words) combined with "her skeptical wariness of language's confinement and oversimplification" ( Fraser 1993, 56) are certainly characteristic of the general ferment known as The New York School in which painters mixed with poets in a coterie atmosphere of play, performativeness, and pleasure. Indeed, as Fraser points out, Guest "was the only woman poet in the first generation of the New York School." (Fraser 1993, 56) However, Fraser continues, thereupon comes a notable glitch in the construction of literary history. Reception and dissemination are never neutral phenomena, and it is often at this point that the familiar bumbling occurs ("honey, I lost women's writing"). Guest was scandalously excluded from a defining anthology of that New York School in which she had been a key participant, An Anthology of New York Poets

54. Naropa University - Summer Writing Program 1998
    barbara guest Tribute conversation between Mei-mei Berssenbrugge and barbara guest.  
    http://www.naropa.edu/swp/mbbg.html
    
    Extractions: conversation between Mei-Mei Berssenbrugge and Barbara Guest Barbara Guest, a major poet of The New York School, has recently authored several books of poetry including Defensive Rapture, The Altos with artist Richard Turtle, Fair Realism , and Musicality with artist June Felter. She published a biography Herself Defined: H.D. the Poet and her World in 1984 and has served as visiting lecturer at Bethlehem College, Brown University, University of New York at Buffalo, University of California at San Diego, among others, and at the H.D. Symposia at Bryn Mawr and the Southbank Imagist Conference in London. Her awards include the Lawrence Lipton Award for Literature, the Longview Award, and the Yaddo Fellowship. Mei-Mei Berssenbrugge was born in Beijing in 1947, and grew up in Massachusetts. Her books include

55. Jacket 10 - Susan Gevirtz - On Barbara Guest
    guest, barbara, Mysteriously Defining the Mysterious Byzantine Proposalsof Poetry, excerpts from a talk given by barbara guest at St.  
    http://jacketmagazine.com/10/gues-by-gevi.html
    
    Extractions: B EGINNING AGAIN and again surrounding a body with story "another STORY BEGINS." ( Rocks , 3) Was there ever a body to begin with? Or can a body by itself exist? In Barbara Guest's three recent books there is only the surrounding that is poetry. Something imagined lying across the field of the page beyond the uneven brick of type. To read Barbara Guest's three new books, almost simultaneously, is to visit a land of elaboration. Due to the accident of their publication, all appearing in 1999 within a few months of each other, the books converse more directly than they might if they had appeared further apart in time. Instead, I (as many readers may have) read each all the way through then saw that by their own momentum they began to shuffle - three extraordinary decks of cards - doors to worlds so rich and complex that comment is paltry, leaving only the possibility of response. Although The Confetti Trees was written long before the other two it fully participates in the orbit of this trialogue. Formally and otherwise the books are vastly different from each other and cannot be conflated.

56. University Press Of New England | Rocks On A Platter
    A major poet reflects on the poetic process. Brief review of barbara guest's 'Rocks on a Platter.'  
    http://www.dartmouth.edu/acad-inst/upne/0-8195-6372-2.html
    
    Extractions: Rocks on a Platter began as an attempt to write about the making of a poem and in so doing, establishes a literary approach other than the essay form, with the rocks of the title being offered for the poem's construction. The resulting long poem is a meditation on the difficulty of assemblage and seeks to express and reflect on the poetic process. Barbara Guest's densely but deftly allusive poetry reveals the range and depth of her cultural knowledge, bespeaking a major poet at the peak of her powers. Guest's work is saturated in the visual arts and music, and extends the formal experiments of modernism, playing abstract qualities of language against its sensuousness and materiality, and switching effortlessly from the real to the imagined. Innovative, intimate, erudite, her poems articulate a feminist aesthetic that seeks not to dispel mystery but to elaborate and perpetuate it.

57. Jacket 10 - Sara Lundquist On Barbara Guest's I The Countess
    She suffers from a certain agoraphobia, unmixed, as it is in barbara guest, witha counterbalancing agoraphilia. Yale University, New Haven. guest, barbara.  
    http://jacketmagazine.com/10/gues-by-lund.html
    
    Extractions: "Surely Ann Arbor is the only place in the western hemisphere where cafeterias frankly put out a neon sign saying simply and clearly: FOOD." Such was the tenor of O'Hara's first reports from the Midwest, a mixture of humor and surprise, but not the solitary pain he had anticipated. "This is not at all a bad place," he wrote . . . a few days after his arrival . . . . It seemed almost as if the openness and cleanness of the tree-lined streets and regular lawns of Ann Arbor, its fresh air and wide open spaces, were giving his poems a new clarity of language and concreteness of detail, their self-conscious preciosity being tempered by American pragmatism and imagism. - Brad Gooch, from City Poet - John Ashbery, from "For John Clare" H OW AND WHY does a poet, associated throughout her career with New York City take on the subject of Minneapolis and its environs? How does she navigate the strong, long-standing cultural prejudice that conceives of New York City and the Midwest as polar opposites, places so divergent in their mores and values that they can cause visitors from one to the other to suffer intra-national culture shock? Mutual attraction and hostility mark this divide: inhabitants of both places tend to hope or fear that "real life" might truly be found not here but there.

58. Barbara Guest
    Poem by barbara guest, published in Columbia Poetry Review number 12, 1999.  
    http://www.colum.edu/undergraduate/english/pubs/cpr/99/guest.html
    
    Extractions: A person stands in the doorway. Someone else goes to greet him. They establish a calendar of meetings, apricot color. Once they arrived together in a cab of electricity, cool heat, desert air. The author attaches herself to those figures peculiar to her asking. They are needed by the pageant of creativity! The usual height and dots of activeness. Is it from the basket shrub? Lightness of feet, circle of grey, of green overlap. What language do they speak?

59. Barbara Guest - The Academy Of American Poets
    barbara guest The Academy of American Poets presents biographies, photographs, selectedpoems, and links as part of its online poetry exhibits. barbara guest.  
    http://www.poets.org/npm/sponsors/bgues
    
    Extractions: poetry awards poetry month poetry exhibits about the academy Search Larger Type Find a Poet Find a Poem Listening Booth ... Add to a Notebook Barbara Guest Barbara Guest was born in Wilmington, North Carolina, in 1920. She attended the University of California, Los Angeles, and the University of California, Berkeley, from which she graduated in 1943. Early in her career, she was known predominantly as a writer of the New York School, a group of poets that included John Ashbery Kenneth Koch Frank O'Hara , and James Schuyler. The New York School represented a rejection of the dominant school of confessional poetry and was deeply influenced by the action painters of the 1950s and 1960s, particularly Jackson Pollock, Willem de Kooning, and Larry Rivers. Throughout the 1950s, Guest worked as a writer for Art News magazine, and she has continued to write articles and reviews for many art magazines. The tension between the lyrical (or musical) and the graphic (or material) is a defining feature of her work, and her poetry often utilizes space as a way to draw attention to language. Guest has published numerous collections of poetry, among them Miniatures and Other Poems (Wesleyan University Press, 2002)

60. Santa Barbara Hotel: Guest Rooms: Fess Parker's DoubleTree Resort
    Our 24 acre Resort offers 337 luxurious guest rooms and 23 suites, each offeringviews of the ocean, mountains or garden courtyard. guest Room Amenities.  
    http://www.fpdtr.com/guestrooms.html
    
    Extractions: O ur 24 acre Resort offers 337 luxurious guest rooms and 23 suites, each offering views of the ocean, mountains or garden courtyard. Our spacious rooms, 450 square feet, also provide a host of amenities, including two vanities, Neutrogena bath products. G uest R oom A menities The guest room décor reflects our seaside location with a neutral and ocean-toned palette accented by natural wood, aged iron, botanical prints, and rich detail. In-room guest amenities include: Personal coffee maker with stoneware mugs, complimentary coffee, decaf coffee and tea Mini-bar Full-sized ironing board and iron Spacious desk area with modem outlet, reading lamp, and stationery Complimentary weekday newspaper outside your door Electronic locks Furnished patio or balcony Bedside alarm clock and radio Desk and bedside telephones Guest voice mail service Double vanities in bath In-room On Command Video (pay-per-view movies) Hair dryers and full length dressing mirror Feather pillows (non-allergenic foam pillows available upon request Neutrogena hair and bath products Complimentary turndown service upon request Freshly baked Doubletree Chocolate Chip Cookie for each guest upon arrival 76% of our rooms are non-smoking accommodations. 158 rooms have a single king bed, and 179 rooms have two queen beds. 11 rooms are adapted to meet ADA requirements of guests with special needs, including 3 with roll-in shower. 76 rooms, including suites, have ocean views.

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