01907    a2200229   4500001001100000005001700011008004100028020001800069037003600087040000700123041000800130072001300138072001100151072002100162072002200183100001900205245014300224250000600367260003200373300001000405520126200415113881253620250317100357.0250312042015GB        18           eng    a9781138812536  bTaylor & FranciscGBP 23.99fBB  a01  aeng7 aD2thema7 aD2bic7 aLIT0000002bisac7 a811.5209122bisac1 aMonique Vescia10aDepression GlassbDocumentary Photography and the Medium of the Camera-Eye in Charles Reznikoff, George Oppen, and William Carlos Williams  a1  aOxfordbRoutledgec20150608  a174 p  bThis interdisciplinary study examines the interrelations between the documentary poetics of "Objectivism" in the United States during the 1930s. Focusing on three volumes published by the Objectivist Press in 1934--Charles Reznikoff's Testimony , George Oppen's Discrete Series , and William Carlos William's Collected Poems, 1921-1931 --the book examines both photographic and linguistic images, along with criticism, correspondence, transcripts of interviews and lectures, contemporary periodicals and other documentary sources from these years. Reznikoff, Oppen, and Williams each constructed textual objects that aspired to the condition of the photograph, and the successes as well as the failures of that aspiration are the subject of this book. Juxtaposing selected works by these three poets with the camera work of Walker Evans, Lewis Hine, and Alfred Stieglitz, Depression Glass also exposes some of the fundamental affinities between documentary photography and modern poetry as forms of expression. This study challenges some of the critical commonplaces of American modernism by demonstrating how these poets comprised an alternative "tradition" dedicated to a project of social realism that would later become the exclusive territory of prose.