Bart Eeckhout is Professor of English and American Literature at the University of Antwerp, Belgium. He is editor of The Wallace Stevens Journal, author of Wallace Stevens and the Limits of Reading and Writing (2002), and co-editor of Wallace Stevens across the Atlantic (2008), Wallace Stevens, New York, and Modernism (2012), and five special issues of The Wallace Stevens Journal.Lisa Goldfarb is Associate Professor at New York University's Gallatin School of Individualized Study, USA. She is President of The Wallace Stevens Society, Associate Editor of The Wallace Stevens Journal, author of The Figure Concealed: Wallace Stevens, Music, and Valéryan Echoes (2011), and co-editor of Wallace Stevens, New York, and Modernism (2012) and two special issues of The Wallace Stevens Journal.

• Acknowledgments List of IllustrationsList of Abbreviations1. Introduction: After StevensBart Eeckhout (University of Antwerp, Belgium) & Lisa Goldfarb (New York University, USA)2. Frost or Stevens? Servants of Two MastersBonnie Costello (Boston University, USA)3. The Strands of Modernism: Stevens beside the SeasideLee M. Jenkins (University College Cork, Ireland)4. Hearing Stevens in Sylvia PlathBart Eeckhout (University of Antwerp, Belgium)5. Moving the “Moo” from Stevensian Blank Verse: Elizabeth Bishop’s Use of ProseAngus Cleghorn (Seneca College, Canada)6. Henri Michaux’s Elsewhere through the Lens of Stevens’ Poetic TheoryAxel Nesme (University of Lyon, France)7. Stevens across the Iron CurtainJustin Quinn (University of West Bohemia, Czech Republic)8. Stevens and Seamus HeaneyGeorge S. Lensing (University of North Carolina, USA)9. The Not So Noble Rider: Stevens, Oppen, GlückEdward Ragg (Tsinghua University, China)10. The Stevens WarsAl Filreis (University of Pennsylvania, USA)11. Stevens’ Musical Legacy: “The Huge, High Harmony”Lisa Goldfarb (Gallatin School, New York University, USA)12. “Ghostlier Demarcations, Keener Sounds”: Stevens, Susan Howe, and the Souls of the Labadie TractJoan Richardson (Graduate Center, City University of New York, USA)13. How John Ashbery Modified Stevens’ Uses of “As”Charles Altieri (University of California, Berkeley, USA)14. Silly to Be Serious: Lateness and the Question of Late Style in Stevens and A. R. AmmonsJuliette Utard (University of Paris-Sorbonne, France)15. Unanticipated ReadersLisa M. Steinman (Reed College, USA)16. “This Song Is for My Foe”: Olive Senior and Terrance Hayes Rewrite StevensRachel Galvin (University of Chicago, USA)17. “The California Fruit of the Ideal”: Stevens and Robert HassRachel Malkin (University of Oxford, UK)Notes on ContributorsIndex

A landmark work of scholarly and editorial imagination. In this probing, often dazzling, and clearly transformative volume, we encounter a Stevens whose reverberant afterlives are many, various, and complex. In its ambition and its willingness to embrace discrepancy and disjunction, this volume breaks new ground for hearing and counter-hearing Stevens into the 21st century. Whether resonating in England or unremarked in Czechoslovakia; a disaster for American poetry or its richest resource; surrealist, symbolist, or ordinary; embraced or critiqued, assimilated or expelled: Stevens emerges as a vibrant, paradoxical, protean force in 20th and 21st century poetics. This book will appeal to anyone interested in Stevens, in the ghostlier as well as keener demarcations of his legacy, and in the legacy of Modernism tout court.

Bart Eeckhout is Professor of English and American Literature at the University of Antwerp, Belgium. He is editor of The Wallace Stevens Journal, author of Wallace Stevens and the Limits of Reading and Writing (2002), and co-editor of Wallace Stevens across the Atlantic (2008), Wallace Stevens, New York, and Modernism (2012), and five special issues of The Wallace Stevens Journal.Lisa Goldfarb is Associate Professor at New York University's Gallatin School of Individualized Study, USA. She is President of The Wallace Stevens Society, Associate Editor of The Wallace Stevens Journal, author of The Figure Concealed: Wallace Stevens, Music, and Valéryan Echoes (2011), and co-editor of Wallace Stevens, New York, and Modernism (2012) and two special issues of The Wallace Stevens Journal.

• Acknowledgments List of IllustrationsList of Abbreviations1. Introduction: After StevensBart Eeckhout (University of Antwerp, Belgium) & Lisa Goldfarb (New York University, USA)2. Frost or Stevens? Servants of Two MastersBonnie Costello (Boston University, USA)3. The Strands of Modernism: Stevens beside the SeasideLee M. Jenkins (University College Cork, Ireland)4. Hearing Stevens in Sylvia PlathBart Eeckhout (University of Antwerp, Belgium)5. Moving the “Moo” from Stevensian Blank Verse: Elizabeth Bishop’s Use of ProseAngus Cleghorn (Seneca College, Canada)6. Henri Michaux’s Elsewhere through the Lens of Stevens’ Poetic TheoryAxel Nesme (University of Lyon, France)7. Stevens across the Iron CurtainJustin Quinn (University of West Bohemia, Czech Republic)8. Stevens and Seamus HeaneyGeorge S. Lensing (University of North Carolina, USA)9. The Not So Noble Rider: Stevens, Oppen, GlückEdward Ragg (Tsinghua University, China)10. The Stevens WarsAl Filreis (University of Pennsylvania, USA)11. Stevens’ Musical Legacy: “The Huge, High Harmony”Lisa Goldfarb (Gallatin School, New York University, USA)12. “Ghostlier Demarcations, Keener Sounds”: Stevens, Susan Howe, and the Souls of the Labadie TractJoan Richardson (Graduate Center, City University of New York, USA)13. How John Ashbery Modified Stevens’ Uses of “As”Charles Altieri (University of California, Berkeley, USA)14. Silly to Be Serious: Lateness and the Question of Late Style in Stevens and A. R. AmmonsJuliette Utard (University of Paris-Sorbonne, France)15. Unanticipated ReadersLisa M. Steinman (Reed College, USA)16. “This Song Is for My Foe”: Olive Senior and Terrance Hayes Rewrite StevensRachel Galvin (University of Chicago, USA)17. “The California Fruit of the Ideal”: Stevens and Robert HassRachel Malkin (University of Oxford, UK)Notes on ContributorsIndex

A landmark work of scholarly and editorial imagination. In this probing, often dazzling, and clearly transformative volume, we encounter a Stevens whose reverberant afterlives are many, various, and complex. In its ambition and its willingness to embrace discrepancy and disjunction, this volume breaks new ground for hearing and counter-hearing Stevens into the 21st century. Whether resonating in England or unremarked in Czechoslovakia; a disaster for American poetry or its richest resource; surrealist, symbolist, or ordinary; embraced or critiqued, assimilated or expelled: Stevens emerges as a vibrant, paradoxical, protean force in 20th and 21st century poetics. This book will appeal to anyone interested in Stevens, in the ghostlier as well as keener demarcations of his legacy, and in the legacy of Modernism tout court.

Bart Eeckhout is Professor of English and American Literature at the University of Antwerp, Belgium. He is editor of The Wallace Stevens Journal, author of Wallace Stevens and the Limits of Reading and Writing (2002), and co-editor of Wallace Stevens across the Atlantic (2008), Wallace Stevens, New York, and Modernism (2012), and five special issues of The Wallace Stevens Journal.Lisa Goldfarb is Associate Professor at New York University's Gallatin School of Individualized Study, USA. She is President of The Wallace Stevens Society, Associate Editor of The Wallace Stevens Journal, author of The Figure Concealed: Wallace Stevens, Music, and Valéryan Echoes (2011), and co-editor of Wallace Stevens, New York, and Modernism (2012) and two special issues of The Wallace Stevens Journal.

• Acknowledgments List of IllustrationsList of Abbreviations1. Introduction: After StevensBart Eeckhout (University of Antwerp, Belgium) & Lisa Goldfarb (New York University, USA)2. Frost or Stevens? Servants of Two MastersBonnie Costello (Boston University, USA)3. The Strands of Modernism: Stevens beside the SeasideLee M. Jenkins (University College Cork, Ireland)4. Hearing Stevens in Sylvia PlathBart Eeckhout (University of Antwerp, Belgium)5. Moving the “Moo” from Stevensian Blank Verse: Elizabeth Bishop’s Use of ProseAngus Cleghorn (Seneca College, Canada)6. Henri Michaux’s Elsewhere through the Lens of Stevens’ Poetic TheoryAxel Nesme (University of Lyon, France)7. Stevens across the Iron CurtainJustin Quinn (University of West Bohemia, Czech Republic)8. Stevens and Seamus HeaneyGeorge S. Lensing (University of North Carolina, USA)9. The Not So Noble Rider: Stevens, Oppen, GlückEdward Ragg (Tsinghua University, China)10. The Stevens WarsAl Filreis (University of Pennsylvania, USA)11. Stevens’ Musical Legacy: “The Huge, High Harmony”Lisa Goldfarb (Gallatin School, New York University, USA)12. “Ghostlier Demarcations, Keener Sounds”: Stevens, Susan Howe, and the Souls of the Labadie TractJoan Richardson (Graduate Center, City University of New York, USA)13. How John Ashbery Modified Stevens’ Uses of “As”Charles Altieri (University of California, Berkeley, USA)14. Silly to Be Serious: Lateness and the Question of Late Style in Stevens and A. R. AmmonsJuliette Utard (University of Paris-Sorbonne, France)15. Unanticipated ReadersLisa M. Steinman (Reed College, USA)16. “This Song Is for My Foe”: Olive Senior and Terrance Hayes Rewrite StevensRachel Galvin (University of Chicago, USA)17. “The California Fruit of the Ideal”: Stevens and Robert HassRachel Malkin (University of Oxford, UK)Notes on ContributorsIndex

A landmark work of scholarly and editorial imagination. In this probing, often dazzling, and clearly transformative volume, we encounter a Stevens whose reverberant afterlives are many, various, and complex. In its ambition and its willingness to embrace discrepancy and disjunction, this volume breaks new ground for hearing and counter-hearing Stevens into the 21st century. Whether resonating in England or unremarked in Czechoslovakia; a disaster for American poetry or its richest resource; surrealist, symbolist, or ordinary; embraced or critiqued, assimilated or expelled: Stevens emerges as a vibrant, paradoxical, protean force in 20th and 21st century poetics. This book will appeal to anyone interested in Stevens, in the ghostlier as well as keener demarcations of his legacy, and in the legacy of Modernism tout court.