Agee at 100
Centennial Essays on the Works of James Agee
Publication Year: 2012
Published by: The University of Tennessee Press
Table of Contents
James Agee’s Shakespearean sonnet from his book of poems, Permit Me Voyage (1934), presents ample ambiguity for the reader. As always with the autobiographically inclined Agee, it is tempting to seek parallels to and echoes of his personal life in his work, yet such an inaccurate approach is at best far too limiting and tamps down the power of his verse....
I wish to thank all those who helped bring the James Agee Centennial Celebration to fruition and directly and indirectly gave impetus to the creation of this volume. In addition to the authors/speakers noted in the preface, David Auburn, C. Randall DeFord, R. B. Morris, Jack Neely, Joshua Robbins, Jeff L. Rosenheim, Ross Spears, and Bradley Reeves and Louisa ...
A James Agee Chronology
Why Agee Matters
There’s a big part of James Rufus Agee, born one hundred years ago this month, that would have detested this warm and appreciative gathering in his honor. “When the historians get to work on anything,” he wrote in The Nation in 1946, “arteries begin to harden, in the subject and in the people interested.”1 He would have commiserated with the poet W. H. Auden, who in 1944 foresaw the “sad day, indeed,” when Agee’s collected film ...
Agee on Books
In the fall of 1939, James Agee nearly had completed the writing of Let Us Now Praise Famous Men but was running low on money. Having severed his ties with Fortune, he needed work. His friend Robert Fitzgerald, who was reviewing books for Time, arranged a meeting between Agee and T. S. Matthews. If they had not met formally, Agee and Matthews knew each ...
James Agee and the Culture of Repudiation
One of James Agee’s greatest heroes and one upon whom he seems to have modeled something of his own artistic persona was Ludwig van Beethoven. As Isaiah Berlin pointed out in Freedom and Its Betrayal, Beethoven was the epitome of the new conception of the romantic artist: “Beethoven is visualised as a man in a garret, poor, unkempt, neglected, rough, ugly; he has thrown away the world, he will have none of its ...
Racial Violence, Receding Bodies: James Agee's Anatomy of Guilt
Though his championing of the poor, uneducated white southerner is well documented throughout James Agee’s complicated Let Us Now Praise Famous Men, a reader might rightly question his lack of engagement with the poor, black sharecropper living in the Jim Crow South. While Agee endlessly sympathizes with the white southern tenant farmers in Hale County, Alabama, he spends little time discussing the African American...
A Continous Center: Centripetal and Centrifugal Tendencies in Let Us Now Praise Famous Men
In an early draft of Let Us Now Praise Famous Men, James Agee recalled the rush of excitement—“like the release of a spring or the opening of a sluice”—he experienced in June 1936 when Fortune magazine assigned him to write a piece on cotton tenantry in the American South: “I was within a few seconds as shifted in state of mind as I might have been if I had ...
A Blind Work of Nature: The Ethics of Representing Beauty in Let Us Now Praise Famous Men
Almost midway through his remarkable book, Let Us Now Praise Famous Men, in a brief and tormented consideration of intention in art, James Agee extends a philosophical question: “Are things beautiful which are not intended as such, but which are created as in convergences of chance, need, innocence or ignorance, or entirely irrelevant...
James Agee's A Death in the Family: Personal Indentity and Conflict in an Emerging Appalachia
While James Agee’s declaration may be explained by his being in the throes of his revisions of what would become Let Us Now Praise Famous Men, it also likely refers to “Knoxville: Summer of 1915,” one of his first and best-known meditations on his childhood, which appeared in the August–September 1938 issue of the ...
Maximum Simple: The Restored Text of A Death in the Family
“This book,” turning on the death of Agee’s father in a car accident when Agee was six, was nearly completed at the time of his death in 1955. A book, published in 1957, was the result of the compiling and editing of material by Agee’s friend David McDowell, who, in “A Note on This Book,” wrote that the “novel . . . is presented here exactly as [Agee] wrote it.”1 McDowell acknowledges that the writing which begins his edition ..
Writing The African Queen: Variations on a Classic Film
For James Agee, working with John Huston on the screenplay for The African Queen was the culmination of a long campaign to breach the walls of Hollywood. With sad irony, the work also contributed to his near-fatal heart attack. Although Agee shared screen credit equally with Huston, accounts of Agee’s contribution to the film invariably suggest that he had...
The Makers of In the Street and The Quiet One
Blame it on the Leica. For it was the invention in 1925, by the E. Leitz Company of the compact, portable 35-mm Leica camera that first made it practical for stealth-minded photographers to deploy a pocketable instrument, one far less likely to distract and influence their subject’s attention than did the larger, boxy cameras that preceded it. In the introduction...
James Agee's Experimentally Traditional Mr. Lincoln
In 1945, James Agee referred to television as a “ghastly gelatinous nirvana.” 1 Whatever that meant, it was no compliment. Six years later, he accepted a job writing for television. His assignment was to create five half-hour episodes on the early life of Abraham Lincoln for a new series to be called ...
Agee and the Filipino Epic Genghis Khan: A Personal Journey
Not the least pleasure of attempting deep research on the film career of a writer like James Agee is the hunt for those little known marginal movies, the arcane work long out of print and distribution, that live in the low shoulders of familiar peaks like The African Queen and Night of the Hunter. Even in this wired world there are some films that have fallen so deeply ...
Seeing Agee in Action: A Short Story
Too long, so long, much too long since my last letter to you, you above all, above all my friends and even my family, yet another letter to add to the vast store of them over the years, since my first, which must have been about 1927, when I was 18 or so—enough to make a book really— ...
Page Count: 320
Illustrations: 12 halftones
Publication Year: 2012
OCLC Number: 787843689
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