Wh Auden And Chester Kallman

An intimate portrayal of the Auden-Kallman circle profiles the enduring relationship between the two men and portrays the brilliant literary milieu that revolved about them.

W. H. Auden called opera the "last refuge of the High Style," and considered it the one art in which the grand manner survived the ironic levelings of modernity. He began writing libretti soon after he arrived in America in 1939 and abandoned his earlier attempts to write public, political drama. Opera gave him the opportunity to rise to the high style in public, not in an attempt to elevate his own status as a poet, but in service of the heroic voice of the singers. These works present their mythical actions with a direct intensity unlike anything in even his greatest poems. In this volume of Auden and Chester Kallman's libretti, extensive historical and textual notes trace the history of the production and revision of the works and provide full texts of early scenarios, as well as abandoned and rewritten scenes. Almost all the works included here were previously published in incomplete and often inaccessible editions--or were never published at all. The book prints for the first time the full text of Paul Bunyan, Auden's first libretto, which he wrote for music by Benjamin Britten. It also includes Auden and Kallman's The Rake's Progress, written for Igor Stravinsky, and Delia, written for Stravinsky but never set to music. The book continues with Auden and Kallman's two libretti written for music by Hans Werner Henze, Elegy for Young Lovers and The Bassarids, and their adaptation of Love's Labour's Lost, composed by Nicolas Nabokov. It also contains their translation of The Magic Flute, with its scenes reordered for greater dramatic coherence and added dialogue for sharper mythical significance, and their antimasque, The Entertainment of the Senses, for music by John Gardner. The book contains two radio plays--The Dark Valley, a monologue written by Auden alone, and The Rocking Horse Winner, written with James Stern and based on a story by D. H. Lawrence. Also included are the unpublished masque that Auden wrote for Kallman's twenty-second birthday, the unpublished versions of The Dutchess of Malfi that Auden prepared with Bertolt Brecht, scenarios for a film script and a libretto that were never completed, Auden's narrative for the medieval Play of Daniel, two narratives for documentary films, and his song lyrics written for Man of La Mancha before the producer decided to use a different lyricist.

Clark's story is generously sprinkled with glimpses of Auden's eccentricities. She recollects his fascination with female anatomy and with the process of birth; his unusual mix of moral seriousness and intellectual frivolity; his love for church ritual and his conviction that homosexuality was wrong.

Gay Love Letters Through The Centuries Writers range from Kings and aristocrats, musicians and artists, soldiers and monks, to farm labourers, political activists, hustlers and drag queens. Illustrated.

The first nuanced, personal portrait of Auden and Kallman's relationship of more than thirty years, Wystan and Chester opens a window on a central aspect of Auden's life that has been overlooked by most biographies and critical studies. In a series of witty, poignant, and occasionally disturbing vignettes, Clark recounts the artists at work and at play: the raucous, Bacchanalian dinner parties on Ischia and the quiet mornings of writing on the porch of their house in Kirchstetten, Austria. She chronicles the early years of their friendship, when Auden and Kallman became her young daughter Lisa's constant companions, and when their nurturing partnership helped to foster unparalleled creative output for both. Remembering also Kallman's steady decline in his later years, Clark paints a sympathetic picture of the talented and troubled artist and of Auden's abiding love for him. Clark's story is generously sprinkled with glimpses of Auden's eccentricities. She recollects his fascination with female anatomy and with the process of birth; his unusual mix of moral seriousness and intellectual frivolity; his love for church ritual and his conviction that homosexuality was wrong.

From one of the great modern writers, the acclaimed lectures in which he draws on a lifetime of experience to take the measure of Shakespeare's plays and sonnets "W. H. Auden, poet and critic, will conduct a course on Shakespeare at the New School for Social Research beginning Wednesday. Mr. Auden . . . proposes to read all Shakespeare's plays in chronological order." So the New York Times reported on September 27, 1946, giving notice of a rare opportunity to hear one of the century's great poets discuss at length one of the greatest writers of all time. Reconstructed by Arthur Kirsch, these lectures offer remarkable insights into Shakespeare's plays and sonnets while also adding immeasurably to our understanding of Auden.

This volume brings together specially commissioned essays by some of the world's leading experts on the life and work of W. H. Auden, one of the major English-speaking poets of the twentieth century. The volume's contributors include a prize-winning poet, Auden's literary executor and editor, and his most recent, widely acclaimed biographer. It offers fresh perspectives on his work from Auden critics, alongside specialists from such diverse fields as drama, ecological and travel studies. It provides scholars, students and general readers with a comprehensive and authoritative account of Auden's life and works in clear and accessible English. Besides providing authoritative accounts of the key moments and dominant themes of his poetic development, the Companion examines his language, style and formal innovation, his prose and critical writing and his ideas about sexuality, religion, psychoanalysis, politics, landscape, ecology, and globalisation. It also contains a comprehensive bibliography of writings about Auden.