{"id":3157,"date":"2017-09-19T19:00:31","date_gmt":"2017-09-19T19:00:31","guid":{"rendered":"http:\/\/courses.suzannechurchill.com\/eng394-f17\/?p=3157"},"modified":"2017-09-21T18:45:10","modified_gmt":"2017-09-21T18:45:10","slug":"alfred-kreymborg-draft-1","status":"publish","type":"post","link":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/2017\/09\/19\/alfred-kreymborg-draft-1\/","title":{"rendered":"Alfred Kreymborg Draft 1"},"content":{"rendered":"

Alfred Kreymborg \u201cis middle height, quiet, dignified, dry, unpuffed up, very deliberate and kind.\u201d[1]<\/a> \u201cHe has more claim to be called a founder [Of the American Theater] than Eugene O\u2019Neill.\u201d[2]<\/a> And as for the two magazines he founded and edited, Glebe <\/em>and Others<\/em>, \u201cTheir significance is no greater or no less than the estimate that one places on the desirability of securing the reputations of such poets as Williams, Moore, and Stevens.\u201d [3]<\/a> Born and raised in New York, the quintessential starving artist, a writer, editor, director, musician, chess player, and playwright, it is hard to argue that he had an important influence on the Avant Garde movement.<\/p>\n

Kreymborg in many ways does not fit into the conventions of the Avant Garde, few though they may be. He has evident of preference toward the rural over the urban Village is one such example. Unique in and of itself, this preference in turn lead to a unique version of the 20th<\/sup> Century artists salon, who\u2019s archetype can in many ways be represented by the Arensberg Salon, owned by none other than Kreymborg\u2019s partner in crime in the conception, though not the execution, of Others<\/em>.[4]<\/a> He also defied convention by refusing to subscribe to any one convention \u201ceschew[ing] anything which approximates is-mism\u201d[5]<\/a>). These infractions are not the kind of mob raising acts of subversion and defiance that categorize the movement as a whole, but they are infractions nonetheless. Whether they are intentional acts of a renegade or simply actions comporting with Kreymborg\u2019s beliefs is hard to say.<\/p>\n

On the subject of Kreymborg\u2019s beliefs, however, throughout his career, Kreymborg seems to seek the leadership and control to make those beliefs dominant. According to Charles Allen, the bankrollers of Glebe, eventually began to renege on their promise that Kreymborg would be \u201cunhampered in his editorial inclinations. But\u2026the Boni brothers favored Europeans, Kreymborg desired the experimental, little known Americans. The editor [Kreymborg] resigned, and Glebe foundered.\u201d[6]<\/a> In working with the Provincetown Players, Kreymborg wrote that he, \u201c”found it almost im\u00adpossible to sway the group toward similar scripts by other writers,\u201d and that the players were \u201cnot sufficiently daring and elastic.\u201d[7]<\/a> So it shouldn\u2019t come as much surprise that, as he founded Others<\/em> once he was dissatisfied with his control over Glebe, he went on to found The Others Players.[8]<\/a> This controlling sense is belied by his overt self-effacement, visible in Troubador where he wrote \u201cAnyone is free to come in or stay out of the magazine, subject of course to the none-too-infallible judgment of the editor.\u201d[9]<\/a> The publication, however, according to Guido Bruno, has Kreymborg undeniably stamped all over it.[10]<\/a> Kreymborg even seems to want us to know how important he is, writing in his third-person autobiography: \u201c\u2019We\u2019ll have Wallace Stevens and Mina Loy to begin with,\u2019 Walter declared. \u2018They alone,\u2019 Krimmie [Kreymborg] interrupted, \u2018would create the paper we have in mind.\u2019 \u2018So would you,\u2019 Walter added; \u2018so would you\u2019, responded Krimmie.\u201d[11]<\/a> Having Walter conflate Kreymborg with his publication, and responding in kind, makes it seem as though this connection wasn\u2019t Kreymborg\u2019s idea. However, this is Kreymborg\u2019s writing, and Walter Arensberg dropped of the project soon after its inception.[12]<\/a><\/p>\n

However, the quote also suggests that Mina Loy could be conflated with Others<\/em>, which is in many ways accurate. In addition to being the only person to have an entire issue of Others <\/em>dedicated to her work, the writing published in that issue, from a magazine that actively relegated to \u201cthe most private circles\u201d[13]<\/a>, wound up on \u201cevery coffee table.\u201d[14]<\/a><\/p>\n

Others <\/em>is the chief connection between Loy and Kreymborg, though they did both run with the Arensberg crew. However, they also connected in the theater. Loy, opposite William Carlos Williams and William Zolach, played the female lead in Kreymborg\u2019s play Lima Beans, wearing a dress of her own design (which Kreymborg thought didn\u2019t quite go with the character, but he still liked it).[15]<\/a> Their relationship does not seem to extend beyond their work together and their shared social sphere, though accounts differ on such topics. In the great mythology of the Avant Garde, Loy was among those to make the trek out to the Grantwood Colony (the rural Others <\/em>salon), she is at the fateful party where Arensberg and Kreymborg meet, and is otherwise popping up in and around the lore of the New York Avant Garde scene while she is actually still in Europe, wreaking her havoc on the stuffy, unsuspecting European public.[16]<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

[1]<\/a> Marianne Moore, Letters<\/p>\n

[2]<\/a> Waldo. “MR KREYMBORG WOOS AMERICA.”<\/p>\n

[3]<\/a> Allen \u201cGlebe and Others.\u201d<\/p>\n

[4]<\/a> Allen \u201cGlebe and Others.\u201d<\/p>\n

[5]<\/a> Others V:1 (December 1918) p.1<\/p>\n

[6]<\/a> Allen \u201cGlebe and Others.\u201d<\/p>\n

[7]<\/a> SARLOS “THE PROVINCETOWN PLAYERS: EXPERIMENTS IN STYLE. (VOLUMES I AND II).”<\/p>\n

[8]<\/a> Churchill, Suzanne M. “Making Space for Others: A History of a Modernist Little Magazine.”<\/p>\n

 <\/p>\n

[9]<\/a> Qtd. in Churchill “Making Space for Others: A History of a Modernist Little Magazine.”<\/p>\n

[10]<\/a> Qtd. in Churchill”Making Space for Others: A History of a Modernist Little Magazine.”<\/p>\n

[11]<\/a> Qtd. in Churchill “Making Space for Others: A History of a Modernist Little Magazine.”<\/p>\n

[12]<\/a> Allen. \u201cGlebe and Others\u201d<\/p>\n

[13]<\/a> Kreymborg, Troubador, 183<\/p>\n

[14]<\/a> Black, The Women of Provincetown<\/p>\n

[15]<\/a> Ibid.<\/p>\n

[16]<\/a> Churchill, “Making Space for Others: A History of a Modernist Little Magazine.”<\/p>\n

Works Cited:<\/p>\n

Allen, Charles. \u201cGlebe and Others.\u201d College English<\/em>, vol. 5, no. 8, <\/strong><\/p>\n

1944, pp. 418\u2013423. JSTOR<\/em>, JSTOR www.jstor.org\/stable\/371453.<\/strong><\/p>\n

 <\/p>\n

\u201cThe significance of Glebe <\/em>and Others <\/em>is no greater or no less than the estimate that one places on the desirability of securing the reputations of such poets as Williams, Moore, and Stevens\u201d (423). The final line Charles Allen\u2019s \u201cGlebe and Others\u201d comes as close as this non-argumentative piece does to a thesis. The article is as much an account of Kreymborg\u2019s work and importance to the Avant Garde movements as it is of the importance of the magazines themselves, following Kreymborg from the founding of these publications to his eventual departure from them, through to their\u2014and thus his\u2014ongoing legacy. Overflowing with admiration for the poets who worked in Others, the article gives accounts of many of the styles of those poets. Though the article offers no close readings, the descriptions are vivid and distinct. The author also offers some historical context, detail\u2019s about Kreymborg\u2019s life, and probably the most successful element of this article, exceedingly well-selected primary source quotes that, combined with the author\u2019s evident excitement for these works, creates something of a sense of the emotional climate of the writers. Loy is mentioned only tangentially among laundry lists of writers\u2014enough to know she was involved, not enough to know she was important.<\/p>\n

 <\/p>\n

Churchill, Suzanne M. “Making Space for Others: A History of a Modernist Little Magazine.” Journal of Modern Literature<\/em> 22.1 (1998): 47-67. ProQuest. <\/em>Web. 15 Sep. 2017.<\/p>\n

Churchill, Suzanne W. The Little Magazine Others and the Renovation of Modern <\/em><\/p>\n

American Poetry. <\/em>Ashgate. 2006.<\/p>\n

 <\/p>\n

Miller, C. “Tongues “loosened in the melting pot”: The Poets of Others<\/p>\n

and the Lower East Side.” Modernism\/modernity<\/em>, vol. 14 no. 3, 2007, pp. 455-476. Project MUSE<\/em>, doi:10.1353\/mod.2007.0067<\/a><\/p>\n

 <\/p>\n

Monroe, Harriet. \u201cLittle Theatres and Poetic Plays.\u201d Poetry<\/em>, vol. 11,<\/p>\n

    \n
  1. 4, 1918, pp. 201\u2013207. JSTOR<\/em>, JSTOR, www.jstor.org\/stable\/20571531.<\/li>\n<\/ol>\n

     <\/p>\n

     <\/p>\n

    Voyce, S. “‘Make the World Your Salon’: Poetry and Community at the<\/p>\n

    Arensberg Apartment.” Modernism\/modernity<\/em>, vol. 15 no. 4, 2008, pp. 627-646. Project MUSE<\/em>, doi:10.1353\/mod.0.0039<\/a><\/p>\n

     <\/p>\n

    Moore, Marianne. “Letters.” Partisan Review<\/em> 64, no. 4 (Fall, 1997): 597-608. http:\/\/ezproxy.lib.davidson.edu\/login?url=https:\/\/search.proquest.com\/docview\/237122854?accountid=10427<\/a>.<\/p>\n

     <\/p>\n

    SARLOS, ROBERT KAROLY. “THE PROVINCETOWN PLAYERS: EXPERIMENTS IN STYLE. (VOLUMES I AND II).” Order No. 6605392 Yale University, 1966. Ann Arbor: ProQuest. <\/em>Web. 19 Sep. 2017.<\/p>\n

     <\/p>\n

    Black, Cheryl D. “The Women of Provincetown, 1915-1922.” Order No. 9908923 University of Maryland, College Park, 1998. Ann Arbor: ProQuest. <\/em>Web. 19 Sep. 2017.<\/p>\n

     <\/p>\n

    Waldo, Frank. “MR KREYMBORG WOOS AMERICA.” The Dial; a Semi – monthly Journal of Literary Criticism, Discussion, and Information (1880-1929)<\/em> 07 1925: 72. ProQuest. <\/em>Web. 19 Sep. 2017<\/p>\n

    “Alfred Kreymborg is Dead at 82; Poet and Playwright in ‘Village’.” New York Times (1923-Current File),<\/em> Aug 15, 1966. http:\/\/ezproxy.lib.davidson.edu\/login?url=https:\/\/search.proquest.com\/docview\/117695870?accountid=10427<\/a>.<\/p>\n

     <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    Name<\/td>\nAlfred Kreymborg<\/td>\n<\/tr>\n
    Date of Birth<\/td>\n<\/td>\n<\/tr>\n
    Place of Birth<\/td>\nNew York<\/td>\n<\/tr>\n
    Date of Death<\/td>\nAugust 14th, 1966<\/td>\n<\/tr>\n
    Place of Death<\/td>\nNursing home in Milford CT<\/td>\n<\/tr>\n
    Country of origin, citizenship<\/td>\nUS<\/td>\n<\/tr>\n
    Gender<\/td>\nM<\/td>\n<\/tr>\n
    Race<\/td>\nCaucasian<\/td>\n<\/tr>\n
    Kind of Artist\/Cultural worker (writer, painter, photographer, gallery director, editor, etc)<\/td>\nPlaywright, director, editor, writer<\/td>\n<\/tr>\n
    Address in Florence or New York<\/td>\nGrantwood, NJ\/Ridgefield NJ\/29 Bank Street, Grenwich village<\/td>\n<\/tr>\n
    Dates & Places of Overlap with Loy<\/td>\n1916 through his departure from Others, presumably,<\/td>\n<\/tr>\n
    Avant-garde movements the figure was associated with [list]<\/td>\nThough the encyclopedia entry places him as an imagist, his magazine was distinctly and intentionally “non-denominational”<\/td>\n<\/tr>\n
    Brief summary of the figure\u2019s Biographical\/Historical significance<\/td>\nHis greatest contributions to the movement were the establishment of Glebe, and even more so, Others. He was also a member of the Arensberg circle and worked with many famous figures in the movement. He was a judge on the pulitzer committee, a member of a number of literary societies. Charles Allen said “\u201cThe significance of Glebe and Others is no greater or no less than the estimate that one places on the desirability of securing the reputations of such poets as Williams, Moore, and Stevens\u201d and Frank Waldo said \u201cHe has more claim to be called a founder [Of the American Theater] than Eugene O\u2019Neill.\u201d<\/td>\n<\/tr>\n
    Brief summary of the figure\u2019s Relationship to Loy:<\/td>\nIn addition to being her editor, the fact that they ran in the same circles, and her performance in a play he wrote, there is additional mythology to their relationship, her presence at the Grantwood colony orin association with the fateful birth of Others.<\/td>\n<\/tr>\n
    What was the nature of their overlap or connection?<\/td>\n<\/td>\n<\/tr>\n
    Was it social, literary, artistic? Were they involved in collaborative ventures (publications, exhibitions, performances, readings)?<\/td>\nLargely artistic\/collaborative–she performed in his play, he published her works. Little is said about the two of them in a social setting besides the fact that they ran in the same social circles<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

    Alfred Kreymborg \u201cis middle height, quiet, dignified, dry, unpuffed up, very deliberate and kind.\u201d[1] \u201cHe has more claim to be called a founder [Of the American Theater] than Eugene O\u2019Neill.\u201d[2] And as for the two magazines he founded… Read More<\/a><\/p>\n","protected":false},"author":193,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[32],"tags":[],"class_list":["post-3157","post","type-post","status-publish","format-standard","hentry","category-bio-draft1"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/193"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=3157"}],"version-history":[{"count":3,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3157\/revisions"}],"predecessor-version":[{"id":3183,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3157\/revisions\/3183"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=3157"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/categories?post=3157"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/tags?post=3157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}