Notes for Indecipherable Hieroglyph
Scene One: L’Orecchio di Dionisio
[1] Michel Serres, The
Parasite (Minneapolis: University of Minnesota Press, 2007): 52.
[2] Donna Krolik Hollenberg, ed., Between History and Poetry: The Letters of H.D. And Norman Holmes Pearson (Iowa City: University of Iowa Press, 1997): 30.
[3] H.D., By Avon River (Gainesville: University Press of Florida, 2017): 34.
[4] For those books do speak to the aural qualities of H.D.’s work, see Adelaide Morris’ How to Live/What to Do: H.D.'s Cultural Poetics (2008) and Yopie Prins’ Ladies Greek (2017).
[5] From H.D.’s novel HERmione: “She trailed feet across a space of immaculate clarity, leaving her wavering hieroglyph as upon white parchment.”
[6] H.D., HERmione (New York: New Directions, 1981): 42.
[7] H.D., end to torment (New York: New Directions, 1979): 35.
[2] Donna Krolik Hollenberg, ed., Between History and Poetry: The Letters of H.D. And Norman Holmes Pearson (Iowa City: University of Iowa Press, 1997): 30.
[3] H.D., By Avon River (Gainesville: University Press of Florida, 2017): 34.
[4] For those books do speak to the aural qualities of H.D.’s work, see Adelaide Morris’ How to Live/What to Do: H.D.'s Cultural Poetics (2008) and Yopie Prins’ Ladies Greek (2017).
[5] From H.D.’s novel HERmione: “She trailed feet across a space of immaculate clarity, leaving her wavering hieroglyph as upon white parchment.”
[6] H.D., HERmione (New York: New Directions, 1981): 42.
[7] H.D., end to torment (New York: New Directions, 1979): 35.
Scene Nineteen: Ionic Iconicity
[1] See Susan Barbour’s “The Origins of H.D.’s Prose
Captions in H.D.’s Helen in Egypt,” Review of English
Studies, 63, 260, (2011), 466-90.
[2] Rachel Blau Duplessis, “Otherhow,” The Pink Guitar (Tuscaloosa: The University of Alabama Press, 2006), 154.
[3] Rachel Blau Duplessis, “Haibun,” Blue Studios: Poetry and Its Cultural Work (Tuscaloosa: The University of Alabama Press, 2006), 229.
[4] Susan Stanford Friedman, ed., Analyzing Freud: Letters of H.D., Bryher, and their Circle (New York: New Directions, 2002), 528.
[5] Ibid., 515.
[6] Ibid., 165.
[7] Ibid., 528.
[8] Ibid., 530.
[9] Ion, (Redding Ridge, CT: Black Swan Books, 1986), 185.
[10] Ibid., 161.
[11] Helen Sword, Ghostwriting Modernism (Ithaca: Cornell University Press, 2002), 128.
[12] H.D., Ion, 154.
[13] Ibid., 166.
[14] Ibid., 171.
[15] This phrase “phenomenology of stone” comes from James Karman’s work on Robinson Jeffers.
[16] Ibid., 254.
[2] Rachel Blau Duplessis, “Otherhow,” The Pink Guitar (Tuscaloosa: The University of Alabama Press, 2006), 154.
[3] Rachel Blau Duplessis, “Haibun,” Blue Studios: Poetry and Its Cultural Work (Tuscaloosa: The University of Alabama Press, 2006), 229.
[4] Susan Stanford Friedman, ed., Analyzing Freud: Letters of H.D., Bryher, and their Circle (New York: New Directions, 2002), 528.
[5] Ibid., 515.
[6] Ibid., 165.
[7] Ibid., 528.
[8] Ibid., 530.
[9] Ion, (Redding Ridge, CT: Black Swan Books, 1986), 185.
[10] Ibid., 161.
[11] Helen Sword, Ghostwriting Modernism (Ithaca: Cornell University Press, 2002), 128.
[12] H.D., Ion, 154.
[13] Ibid., 166.
[14] Ibid., 171.
[15] This phrase “phenomenology of stone” comes from James Karman’s work on Robinson Jeffers.
[16] Ibid., 254.
