The Palm at the End of the Mind: Selected Poems and a Play [Paperback]

Wallace Stevens (Author), Holly Stevens (Editor)

Book Description

Publication Date: February 19, 1990

A collection that all the major long poems and sequences, and every shorter poem of lasting value in Stevens' career. Edited by Holly Stevens, it includes some poems not printed in his earlier Collected Works.

Editorial Reviews

Review

"The Palm at the End of the Mind, superbly edited by Holly Stevens, will be the definitive text for students and readers of Wallace Stevens for several decades. Unlike earlier selected volumes, it gives all the major long poems and sequences, and every shorter poem of lasting value. Its arrangement in probable order of composition clarifies the entire shape of Stevens development, particularly by its restoration of crucial late lyrics the poet simply forgot to include in the Collected Poems. Other major benefits given us by the volume include the convenience of having in one place the best of Collected Poems, Opus Posthumous, and the poems heretofore available only in The Necessary Angel. Add to this the powerful early poem 'For an Old Woman in a Wig', the play Bowl, Cat and Broomstick, the prose statement on the poetry of war, the restored lines of 'The Man Whose Pharynx Was Bad,' and a number of vital textual corrections throughout, and some sense of the enormous value of this book will be achieved. Here is the indispensable presentation of a central American poet, the best and most representative of our time."

-- Harold Bloom, Yale University

From the Inside Flap

A collection that all the major long poems and sequences, and every shorter poem of lasting value in Stevens' career. Edited by Holly Stevens, it includes some poems not printed in his earlier Collected Works.

See all Editorial Reviews

Product Details

• Paperback: 432 pages
• Publisher: Vintage (February 19, 1990)
• Language: English
• ISBN-10: 0679724451
• ISBN-13: 978-0679724452
• Product Dimensions: 7.9 x 5.2 x 1 inches
• Shipping Weight: 12 ounces (View shipping rates and policies)
• Average Customer Review: 4.6 out of 5 stars  See all reviews (11 customer reviews)
• Amazon Best Sellers Rank: #38,588 in Books (See Top 100 in Books)
  • #96 in Books > Literature & Fiction > United States > Poetry

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23 of 26 people found the following review helpful:

5.0 out of 5 stars Setting Art Against Nature, August 6, 2005

By 

Hongyu Huang (New Haven, CT USA) - See all my reviews
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This review is from: The Palm at the End of the Mind: Selected Poems and a Play (Paperback)

I was totally ignorant of Wallace Stevens until I came to Yale and took Professor Harold Bloom's course "How to Read a Poem." American poetry, as I, a Chinese student of a non-English major, understood it, is Walt Whitman, T.S. Eliot and Ezra Pound. In contrast, Wallace Stevens's name was strange to most Chinese intellectuals till recently. Even in his native country his rise to a canonical status was not immediate. Eliot's The Waste Land and Stevens' Harmonium debuted around the same time, but the former took all the spotlight. A mysterious "X" recurs in some of Stevens's letters and poems. This "X" refers to no other than Eliot, which may reflect a degree of frustration on the part of Stevens. Not until his late years did Stevens slowly but surely receive the recognition he deserved. A lagging effect in cross-lingual translation and interpretation may explain Stevens's relative invisibility to the Chinese audience. In addition, Stevens, especially in his later years, was highly meditative and philosophical, at times difficult and obscure, which also affected his accessibility to foreign readers.

Professor Bloom's class first initiated me into the force and beauty of Stevens's poetry. What intrigues me is that Stevens lived a double life. He was an insurance lawyer in profession and a poet in private, and seemed to have no difficulty alternating between the two seemingly incompatible roles. Just like his work is so original that they defy any easy label, Stevens's life is so eccentric that he contradicts the stereotype of what a poet is supposed to be like. This is particularly astonishing in the eyes of the Chinese, for in our tradition commerce and poetry have very little in common. Chinese poets are easily associated with scholars, officials, hermits, monks, artists, but it is hard to think of any example of successful poet-businessmen.

I especially love "The Poems of Our Climate," a short piece written in 1938, when the poet was 59 years old. It was a number of years on from "The Idea of Order in the Key West." For Stevens, it was a central poem. Stevens's poetic odyssey spanning over half a century was punctuated by two puzzling breaks: in 1898-1900, Stevens, a Harvard student poet, contributed regularly to Harvard Advocate. After he left Cambridge for New York, his poetry writing stopped short. After a complete silence of seven years when Stevens was struggling with his business career, in 1907 he began to present love songs to his muse Elsie Moll, and his creative faculty seemed to return. In 1923, Stevens, at the age of 44, finally published his first volume of poems, Harmonium. The book's poor reception and its author's growing domestic and corporate responsibilities almost led him to abandon poetry again. For four years Stevens published little. Not until 1929 did Stevens resume poetry writing. Like the Irish poet W.B.Yeats and the Chinese poet Du Fu, the bulk of Stevens's best work was not done until his late years. Interestingly, these three literary lions unanimously fall in love with the fall season: Yeats admires the trees in their autumn beauty in "The Wild Swans at Coole"; Du Fu composed a cycle of regulated poems under the general title of "Autumn Meditations"; Stevens' last major poetic endeavor is no other than "The Auroras of Autumn." These pieces actually reflect the poets' "autumnal personality." As they are approaching that season of their life, their works become increasingly sophisticated, retrospective and sublime. The following lines from John Keats' "Ode to Autumn" might be particularly pertinent to their situations:

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,

"The Poems of Our Climate" was written in this "autumnal period" of the poet's life, thus belonging to the poetry of maturity. It is in three numbered sections. There is a break between each of the sections.

I
Clear water in a brilliant bowl,
Pink and white carnations. The light
In the room more like a snowy air,
Reflecting snow. A newly-fallen snow
At the end of winter when afternoons return.
Pink and white carnations - one desires
So much more than that. The day itself
Is simplified: a bowl of white,
Cold, a cold porcelain, low and round,
With nothing more than the carnations there.

Stevens's difficulty often lies in referentiality. The first section seems to have nothing to do with the title. There is no direct reference whatsoever to either "poems" or "our climate." Ostensibly the poet-persona is watching a Japanese flower arrangement. Stevens had a passion for oriental arts and philosophies. He was a close reader of Okakura Kakuzo (1862-1913), and his library was full of all kinds of books about Japanese flower arrangement. He was not only deeply read in this subject, but also had a habit of ordering fresh flowers from shops. The opening sentence introduces the image of flower arrangement by creating a pleasing word picture of balance, harmony and form. "Clear water" seems to be redundant, yet this rhetorical excess emphasizes the crystalline transparency of water. "Brilliant" etymologically means "to emit light, to reflect light," thus accentuating the shiny surface of the container. The combination of "pink and white carnations" brings a festival of inviting colors and textures that are traditionally associated with feminine innocence, charm and gentility. The origin of the word "carnation" in Latin confirms the connection between the flower and human flesh. Behind this image of sexual provocation is a male observer's voyeuristic and fetishistic desire. The first sentence sketches the key components of a flower arrangement (through three nouns: water, bowl and carnations), with an emphasis on their optical and chromatic effects in the eyes of a spectator (through four adjectives: clear, brilliant, pink and white), and thus anticipates the "light" in the following sentence. "[...]. The light / in the room more like a snowy air, / Reflecting snow" embraces and extends the aura around the flower arrangement: the interior light is not like snow falling, but rather like air reflecting fallen snow. The observer is so subtle that he cannot help but elaborating the snow image: during the winter the afternoons have been very brief; but now, with afternoons elongating, winter is near the end and somehow meets early spring, and a fresh snow lies immaculate on the ground, like a breathtaking artwork of Nature, which gives a pure, refreshing and ethereal tone to the air reflecting snow. This late-winter scene suggests that the observer, like "the snowman," wants "a mind of winter," but not a mind of deep winter. The light that gives luster to the flower arrangement, like the rainwater that glazes a red wheelbarrow (William Carlos Williams, "A Red Wheelbarrow"), works beautifully on both formal and metaphorical levels. It represents a natural light, but as part of an art world it also becomes an aesthetic light.

So far the language is very pictorial, in the manner of a still life. When Stevens portrays an object, he often builds a simple yet powerful image, omitting all insignificant details. Therefore, his image is at once concrete and abstract, familiar and unfamiliar, and appropriately distances itself from reality. In the first stanza of "The Poems of Our Climate," the image is very concrete and real: this is about a Japanese flower arrangement. Meanwhile, there is no extravagant description of the object, but a word picture almost in the style of a Chinese xieyi ("to convey the spirit") painting. It highlights the principal components of the flower arrangement (water, bowl and carnations), and throws away lesser details (such as the spatial disposition of flowers, the effect of foliage). The aesthetic atmosphere is not only created by the description of the object itself; it is also a product of the language. To use minimalism to achieve maximal effect - this is also the case for the language. The diction is basic English words, mostly monosyllabic and disyllabic. Stevens only suggests and expects the reader to complete the picture by himself.

"Pink and white carnations" recurs verbatim in line 6, implying that the observer moves his meditative eyes back to the core image. Then the poem abruptly takes another direction: "One desires / so much more than that." This jump from imagistic to argumentative language is visually strengthened with the use of a hyphen to connect a noun phrase and a full sentence. Meanwhile, "desire" corresponds to the etymological hint of carnation, and the whole question about desire will continue to inform the rest of the poem. "The day" is in opposition to whatever "in the room," designating the world external to the flower arrangement. Thus "[...] The day itself / is simplified" suggests that art reduces the outside world. "[...] a bowl of white, / Cold, a cold porcelain, low and round, / With nothing more than the carnations there." Once again, Stevens returns to visual imagery, but this is not a wanton repetition of the earlier lines, but rather a repetition with nuanced variations or a deliberate revision, as if the observer observes through a closer perspective. "Cold, a cold porcelain, low and round" introduces new details about the container and unmistakably echoes the "cold pastoral" in Keats's "Ode on a Grecian Urn." While "a bowl of white" seems a neutral description of what is seen, the "cold porcelain," just like Keats's cold urn, implies that this is a lifeless, artificial work. Although Stevens appreciates the aesthetic effect of the flower arrangement, subliminally he is not satisfied with its lifelessness and otherness to human world. He desires more: in the closure of the next stanza, he will repeat the word "more"... Read more ›

21 of 24 people found the following review helpful:

5.0 out of 5 stars Here is essential poetry that remains good reading., April 2, 1999

By 

Bill Ziegenfuss ([e-mail]) (Denver, CO) - See all my reviews

This review is from: The Palm at the End of the Mind: Selected Poems and a Play (Paperback)

One of the three major creative forces in the verse of this century, Wallace Stevens, like Yeats and Eliot, rewards repeated readings, and The Palm at the Mind is a fine place to start. Every poem inside its pages shows Stevens's distinctive musicality, moral sophistication, and virtuoso command of the language, combined with his signature unexpectability. This last trait often results in something close to playfulness, and how Stevens's poetry balances such lingual fun with philosophical authority is one of the primary miracles of his art.

In these poems Stevens combines technical mastery approaching Yeats's with a cerebralness typically associated with Eliot. Yet Stevens's work is more emotionally complex than the Irish poet's and more nimble and sure than the English expatriot's. While Stevens is the only American of the three, his verse is unemcumbered by geography or nationalism.

Reading The Palm at the End of the Mind pleases on so many levels-the wordplay of The Emperor Of Ice Cream, the Zen feel of Thirteen Ways Of Looking At A Blackbird, the fertility of O Florida, Venereal Soil, the music of The Man With The Blue Guitar, the philosophy of Not Ideas About The Thing But The Thing Itself, the self-consciousness of Of Modern Poetry. Or one can enjoy virtually all of these things at once in masterpieces like The Idea Of Order At Key West, Notes Toward A Supreme Fiction, or The Sail Of Ulysses.

This definitive collection is not only essential poetry for one's collection but, more importantly, good reading as well.

7 of 7 people found the following review helpful:

5.0 out of 5 stars At the end of the mind, April 19, 2005

By 

E. A Solinas "ea_solinas" (MD USA) - See all my reviews
(VINE VOICE)    (HALL OF FAME REVIEWER)    (TOP 50 REVIEWER)    (REAL NAME)   

This review is from: The Palm at the End of the Mind: Selected Poems and a Play (Paperback)

Wallace Stevens is one of those rare writers who had a golden touch with words -- musical words, spellbinding imagery, and no boundaries to keep anyone from enjoying it. "The Palm at the End of the Mind : Selected Poems and a Play" brings together many of his best works, starting early in his writing career and stretching through the years.

Over his lifetime, Stevens wrote several books of poetry, but his exquisite poems are best taken by themselves: the languid splendour of "Sunday Morning," the spare eloquence of "Man With A Blue Guitar," and the hymnlike grandeur of "Le Monocle De Mon Oncle." ("I know no magic trees, no balmy boughs,/No silver-ruddy, gold-vermilion fruits./But, after all, I know a tree that bears/A semblance to the thing I have in mind.")

This volume also contains his little-known one-act play, "Bowl, Cat and Broomstick." Like many of his non-poetic works, this play deals with the nature of poetry, and is in the form of a dialogue between three seventeenth-century characters. It's part parody, part analysis. And while it's a bit weird, it's certainly worth reading.

Wallace Stevens began publishing poetry at an importance time in writing history, when the older styles were falling away. But instead of ignoring one type of poetry in favor of another, he took the best of all kinds -- his verse combines Victorian opulance with the more modern free-form verse.

Though he isn't as well known as Yeats or Williams, Stevens' poetry is one of the few kinds that is both technically good and emotionally rich. His poetry can be whimsical ("Every time the bucks went clattering/Over Oklahoma/A firecat bristled in the way"), but it is also meditative and philosophical, even tackling the nature of reality.

If nothing else, Stevens' writing can be read just because it is exquisitely beautiful. He lavished details all over almost every poem he wrote; his style tends to be a bit on the ornate side -- Stevens freely uses the more exotic terms -- such as "opalescence," "pendentives" and "muleteers" -- wrapped up in complex verse, sometimes with a rhyme scheme and sometimes free-form.

"The Palm at the End of the Mind" is a wonderful collection of Wallace Stevens' most significant long poems, his underrated play, and his equally important smaller ones. A must-have.