On the 29th of February I resigned my position under the government and left Washington to accept an offer from Professor Farrago—whose name he kindly permits me to use—and on the first day of April I entered upon my new and congenial duties as general superintendent of the water-fowl department connected with the Zoological Gardens then in course of erection at Bronx Park, New York.
For a week I followed the routine, examining the new foundations, studying the architect's plans, following the surveyors through the Bronx thickets, suggesting arrangements for water-courses and pools destined to be included in the enclosures for swans, geese, pelicans, herons, and such of the waders and swimmers as we might expect to acclimate in Bronx Park.
It was at that time the policy of the trustees and officers of the Zoological Gardens neither to employ collectors nor to send out expeditions in search of specimens. The society decided to depend upon voluntary contributions, and I was always busy, part of the day, in dictating answers to correspondents who wrote. Score: 5. Department Bulletin Author : United States. A disparate, stormy group, who had dispersed before the twenties began, these 'verse revolutionaries' received both abuse and acclaim, but their poetry, fragmented, pared-down, elliptical yet direct, exerted a powerful influence on modernist writers, and contributed vitally to the transformation of American and British cultural life in those crucial years.
Among those involved were the Americans Ezra Pound, H. Hulme, F. Flint, Richard Aldington and D. On the edges of the story are figures such as W. The Verse Revolutionaries traces the passionate interactions, love affairs and bitter quarrels of these aspiring poets from to Helen Carr unpicks the story of how they came together, what they gained from each other in the heady excitement of those early days, and what were the fissures that eventually broke up the movement and their friendships in the dark days of the Great War.
Her compelling account challenges the conventional view of Imagism, and offers an acute analysis of the poetry, of the psychology of the individuals involved, and of the evolution and emergence of a transformative cultural movement. It is extraordinarily rich material about a fascinating, distant world. Houston, a young Canadian artist, was on a painting trip to Moose Factory at the south end of Hudson Bay in A bush pilot friend burst into his room with the news that a medical emergency meant that he could get a free flight into the heart of the eastern Arctic.
When they arrived, Houston found himself surrounded by smiling Inuit - short, strong, utterly confident people who wore sealskins and spoke no English.
By the time the medical plane was about to leave, Houston had decided to stay. It was a decision that changed his life. For more than a dozen years he spent his time being educated by those kindly, patient people who became his friends. He slept in their igloos, ate raw fish and seal meat, wore skin clothing, traveled by dog team, hunted walrus, and learned how to build a snowhouse. While doing so, he helped change the North. Impressed by the natural artistic skills of the people, he encouraged the development of outlets in the South for their work, and helped establish co-ops in the North for Inuit carvers and print-makers.
Since that time, after trapping as a way of gaining income began to disappear, Inuit art has brought millions of dollars to its creators, and has affected art galleries around the world. In the one hundred short chapters that make up this book, James Houston tells about his fascinating and often hilarious adventures in a very different culture. He tells of raising a family in the Arctic his sons bursting into tears on being told they were not really Inuit , and of the failure to introduce soccer to a people who refused to look on other humans as opponents.
0コメント