By L. J. Davis
L. J. Davis's 1971 novel, A significant Life, is a blistering black comedy concerning the American quest for redemption via genuine property and a gritty photo of latest York urban in cave in. simply out of school, Lowell Lake, the Western-born hero of Davis's novel, heads to big apple, the place he plans to make it massive as a author. as a substitute he unearths a role as a technical editor, at which he toils away whereas ardour leaks out of his marriage to a pleasant Jewish lady. Then Lowell discovers a stunning crumbling mansion in a crime-ridden component of Brooklyn, and opposed to all recommendation, let alone his wife's will, sinks his each penny into purchasing it. He quits his activity, strikes in, and spends day and evening on demolition and development. eventually he has a venture: he'll dig up the misplaced background of his condominium; he'll fix it to its earlier grandeur. he'll make stable on every thing that's long gone fallacious along with his lifestyles, and he'll even homicide to do it.
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Extra info for A Meaningful Life (New York Review Books Classics)
Most of the discussion below concerns T. S. Eliot and Ezra Pound, primarily because of their immersion in this process and their pivotal role as conduits and instigators in the making of modern verse. It is not our intention in this way to endorse the Anglo-American modernist canon (which has anyway never received both poets equally). Our concern is rather to return these poets to the transitional and symbiotic histories of verse and modernity. The effect of such an examination, introductory though it is, is rather to undermine than shore up their monumentalism, to unravel rather than ﬁx the text of modernism and to disperse rather than determine any supposed point of origin.
William Carlos Williams summarized his life’s work as a pursuit of ‘the American idiom’ (Mariani, 1981, pp. 758–9). For all of its declarations of independence, however, New York modernism preserved its transatlantic links with Europe. The Armory Show of 1913 gave many artists and writers their ﬁrst glimpse of post-Impressionist painting. The bold experimentation of the Fauvists, Cubists and Futurists heartened their American counterparts to break with nineteenth-century conventions. E. E. Cummings tried his hand at avant-garde painting as well as poetry.
Among the luxuries to be relinquished were traditional metre and rhyme, artiﬁcial poetic diction, superﬂuous verbiage, explicit philosophizing and editorializing, rhetoric, and transitional ﬁller. The poem was to be made as economical and functional as possible, and its chief raison d’être was to present images unmediated by authorial commentary (see Coffman, 1951; Schneidau, 1969; Gage, 1983). Classic examples of Imagism in action include Pound’s ‘In a Station of the Metro’, H. ’s ‘Oread’ and William Carlos Williams’s ‘The Red Wheelbarrow’.
A Meaningful Life (New York Review Books Classics) by L. J. Davis