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By Laura Kasischke

"She has, like any strong poets, created a tune of her personal, one fitted to her issues. while denizens of the twenty second century, if we get there, glance again on our period and ask how we lived, they'll take an curiosity either within the strangest personalities who gave their matters verbal shape, and within the so much consultant. the longer term will not—should not—see us via one poet by myself. but when there's any justice in that destiny, Kasischke is likely one of the poets it is going to choose.” —Boston Review

“Kasichke’s poems are powered through a skillful use of images and the sophisticated, inventive manner she turns a phrase.” —Austin American-Statesman

Laura Kasischke in her personal phrases: "I learned whereas ordering and choosing the poems for this assortment that a lot of my newer paintings issues physique elements, attire, and sweetness queens. those weren't unsleeping judgements, simply the issues that came across their approach into my poems at this actual element in my existence, and which appear to have connected to them a type of prophetic strength. the sweetness queens specially appeared to crowd in on me, in all their female loveliness and misery, donning their actual and mental finery, bearing what physique components were dispensed to them. For a while, I have been puzzling over good looks queens like omit Michigan, but in addition the Rhubarb Queen, and the sweetness Queens of abstraction—congeniality. And then—Brevity, comfort for Emotional Damages, Estrogen—all those female probabilities to which i assumed a voice had to be given."

Laura Kasischke is the writer of six books of poetry, together with Gardening within the Dark (Ausable Press, 2004) and Dance and Disappear (winner of the 2002 Juniper Prize), and 4 novels. Her paintings has bought many honors, together with the Alice Fay Di Castagnola Award from the Poetry Society of the United States, the Beatrice Hawley Award, the Pushcart Prize, and the Elmer Holmes Bobst Award for rising Writers. She teaches on the collage of Michigan in Ann Arbor.

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It also provides us Intercultural Readings 23 with an overview of the structure and dynamics of the Villa Seurat group, an important but still largely unexamined literary and cultural nexus in Paris between the wars. Further, by carefully reconstructing Miller’s reading of Dostoevsky in situ, as it were, first within the American context of his early encounters with Dostoevsky and then within his Parisian milieu, we can gain an understanding not only of Miller’s – and, subsequently, Villa Seurat’s – Dostoevsky, but of how this seemingly idiosyncratic understanding was actually a development of a well-established American tradition of interpreting Dostoevsky and his novels.

46 In subsequent years, countless writers and poets would speak about their admiration for Miller and about his impact on their work and the work of their colleagues. In 2005 Miller scholar James Decker attempted to summarize Miller’s influence on American writers and came up with an impressive list that illustrates the extensiveness and pervasiveness of Miller’s influence: Beyond his indirect impact on such novelists as Nicholson Baker, Kathy Acker, and Bret Easton Ellis, Miller … inspired members of the Beat movement … Kerouac, Allen Ginsberg, and Lawrence Ferlinghetti, among others, admired Miller greatly … Other American writers – such as Roth, Mailer, Terry Southern, and John Updike – saw in Miller a continuation of the realist project, now combined with psychoanalysis and sexual frankness, while authors such as Pynchon, Acker, Robert Duncan, Erica Jong, and Jim Harrison reacted to Miller’s violent rejection of modernity.

Perov’s portrait, which came to represent the writer at the moment of literary creation, brilliantly articulates and combines a number of classic topoi associated with Dostoevsky. The shabby ‘overcoat’ invokes Dostoevsky’s years of penury and exile but also acts as a Dostoevsky as American Icon 25 visual reference to Nikolai Gogol (1809–52), Dostoevsky’s literary godfather, whose short story ‘The Overcoat’ [‘Shinel’] (1842) heralded a triumphant new epoch in Russian literature. The primal swirling colours of the cravat evoke the intense passions of Dostoevsky’s characters and his own life.

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