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Publications of David Need    :chronological  alphabetical  combined listing:

%% Books   
@book{fds345745,
   Author = {Rilke, RM},
   Title = {From Notebooks and Personal Papers},
   Pages = {210 pages},
   Year = {2018},
   Month = {October},
   ISBN = {1848616023},
   Abstract = {This volume is the first English translation of these poems
             in the arrangement Rilke had set down in 1926. The
             arrangement translated here has only appeared in German as
             Aus Taschen-Büchern und Merk-Blättern.},
   Key = {fds345745}
}

@book{fds297735,
   Author = {Need, D},
   Title = {Songs In-Between the Day / Offshore ST. Mark — Two
             Suites},
   Pages = {69 pages},
   Publisher = {Three Count Pour Press},
   Year = {2015},
   ISBN = {9780988937758},
   Abstract = {Two suites of poetry by the author.},
   Key = {fds297735}
}

@book{fds312443,
   Author = {Rilke, RM},
   Title = {Roses: The Late French Poetry of Rainer Maria
             Rilke},
   Pages = {213 pages},
   Publisher = {Horse and Buggy Press},
   Editor = {Need, D},
   Year = {2014},
   Month = {July},
   ISBN = {0989640108},
   Abstract = {Translation of Rilke's French Language Suite "Les Roses"
             with accompanying essay, additional translations and pen and
             ink image sequence by Clare Johnson},
   Key = {fds312443}
}


%% Papers Published   
@article{fds297739,
   Author = {Need, D},
   Title = {Adjacency and the Politics of Everyday Practice: Fanny
             Howe’s Lives of a Spirit},
   Journal = {Spoke},
   Volume = {1},
   Number = {Fall},
   Year = {2013},
   Key = {fds297739}
}

@article{fds297740,
   Author = {Need, D},
   Title = {Folding Time: On the ‘Gnostic’ Effects of Irruption and
             Loss in the Work of H.D., Philip K. Dick, Allen Ginsberg,
             and Alice Notley},
   Journal = {Talisman},
   Volume = {41},
   Number = {Fall},
   Year = {2013},
   Key = {fds297740}
}

@article{fds297738,
   Author = {Need, D},
   Title = {What Water is Said? A Review Essay},
   Journal = {Oyster Boy Review},
   Volume = {12},
   Number = {Summer},
   Pages = {68-70},
   Year = {2012},
   Key = {fds297738}
}

@article{fds297747,
   Author = {Need, DN},
   Title = {From "Offshore St. Mark"},
   Journal = {Talisman},
   Number = {38/39/40 (Summer 2010)},
   Pages = {142-163},
   Year = {2011},
   Key = {fds297747}
}

@article{fds297745,
   Author = {Need, DN},
   Title = {"Death's Trials" from St. John's Rose Slumber},
   Journal = {Hambone},
   Year = {2009},
   Month = {Fall},
   Key = {fds297745}
}

@article{fds297746,
   Author = {Need, DN},
   Title = {: “Initiation and Lyric Structure: Nathaniel Tarn’s
             Essays on Poetics”},
   Journal = {Golden Handcuffs Review},
   Volume = {II.11 (Spring/Summer)},
   Pages = {215-225},
   Year = {2009},
   Month = {Summer},
   Key = {fds297746}
}

@article{fds297737,
   Author = {Need, D},
   Title = {A Man Made of Words},
   Journal = {Talisman: A Journal of Contemporary Poetry and
             Poetics},
   Volume = {35},
   Number = {Summer/Fall},
   Pages = {105-114},
   Year = {2007},
   Key = {fds297737}
}

@article{fds297736,
   Author = {Need, D},
   Title = {Kerouac’s Buddhism},
   Journal = {Talisman: A Journal of Contemporary Poetry and
             Poetics},
   Volume = {32/33},
   Number = {Summer/Fall},
   Pages = {83-90},
   Year = {2006},
   Key = {fds297736}
}


%% Articles in a Collection   
@article{fds345743,
   Title = {French: Rainer Maria Rilke translated by David
             Need},
   Booktitle = {Fafnir's Heart World Poetry in Translation},
   Publisher = {Bombaykala Books},
   Editor = {Chabria, PS},
   Year = {2018},
   Month = {December},
   ISBN = {8193835387},
   Abstract = {It features poems in 17 languages with special introductions
             to the work of each of the 49 featured poets and translators
             by editor Priya Sarukkai Chabria."We knew these
             delights existed around the world.},
   Key = {fds345743}
}

@article{fds345744,
   Title = {German: Rainer Maria Rilke translated by David
             Need},
   Booktitle = {Fafnir's Heart World Poetry in Translation},
   Publisher = {Bombaykala Books},
   Editor = {Chabria, PS},
   Year = {2018},
   Month = {December},
   ISBN = {8193835387},
   Abstract = {It features poems in 17 languages with special introductions
             to the work of each of the 49 featured poets and translators
             by editor Priya Sarukkai Chabria."We knew these
             delights existed around the world.},
   Key = {fds345744}
}

@article{fds297742,
   Author = {Need, D},
   Title = {Spontaneity, immediacy, and difference: Philosophy, being in
             time, and creativity in the aesthetics of jack kerouac,
             charles olson, and john cage},
   Pages = {195-210},
   Booktitle = {The Philosophy of the Beats},
   Publisher = {University Press of Kentucy},
   Address = {Lexington, KY},
   Editor = {Sharin N. Elkholy},
   Year = {2012},
   Month = {December},
   Abstract = {At the outset of The Four Quartets (1936) quoted above, T.
             S. Eliot takes up the possibility that the problem of
             historical conditioning (the limits placed on human
             freedom/being by history) might be resolved by drawing a
             contrast between a processual, which is a historical mode of
             being limned as "time present and time past," and a unitive
             present. This is thought of as "the still point of the
             turning world" without which "there would be no dance" even
             though "there is only the dance."1 Although this moment
             precedes postwar thematization of immediacy under the tropes
             of spontaneity and the popular call to "be here now," the
             text provides evidence that the new emphasis on spontaneous
             praxis in the work of a range of artists was not simply an
             expressionist response to the violence of World War II.
             Rather, this new aesthetic program consistently carried
             forward an ongoing attempt to address the post-Enlightenment
             articulation of historical consciousness as a limit
             condition for awareness and identity. In what follows, I
             explore what I call the schematization of being in time in
             the work of three artists- The writers Jack Kerouac and
             Charles Olson, and the composer John Cage- All of whom are
             thought of as introducing foundational frameworks for an
             emerging aesthetics of spontaneity and immediacy. In each
             case, I explore the debts the artist owes to one or another
             of the early- Twentieth-century philosophical schemas that
             directly thematize an account of being in relation to
             successive moments of time. These include the use Kerouac
             made of the philosophical/historical schema laid out in
             Oswald Spengler's Decline of the West, Charles Olson's
             adaptation of key structures and terms used by Alfred North
             Whitehead in the elaboration of his metaphysics, the
             influence of the Perennialist philosophy and Vedanta-based
             aesthetics of Ananda Coomaraswamy on John Cage's
             understanding of silence as deep measure. The aim of this
             essay is to suggest that there are important differences
             with respect to the ways in which these artists
             conceptualized the position of the human being in time and
             that these differences lead to different understandings of
             the nature and virtues of immediacy and spontaneity. These
             differences are rooted in their respective philosophical
             influences and are, in the end, different kinds of arguments
             about the kinds of freedom one finds in what Eliot called
             the still point of the present. In delineating influence and
             borrowing, I have chosen not to address either the truth
             claims made by a given philosopher or the fidelity of the
             artist to the philosophical concepts that influenced their
             compositions or their own versions of such concepts, an
             undertaking beyond the scope of this forum. By first
             exploring the relationship between philosophical discourses
             and theories of creativity in Kerouac, Olson, and Cage, I
             aim to show how the differences between their sources and
             influences lead to very different conceptions of what is at
             stake in a moment of creative expression. Making sense of
             these differences allows us to better assess the nuances
             around the notions of immediacy and spontaneity, which are
             powerful tropes associated with the 1960s and the Beats in
             particular. Copyright © 2012 by The University Press of
             Kentucky. All rights reserved.},
   Key = {fds297742}
}

@article{fds305593,
   Author = {Need, DN},
   Title = {Spontaneity, Immediacy, and Difference: Philosophy, Being in
             Time, and Creativity in the Aesthetics of Jack Kerouac,
             Charles Olson, and John Cage},
   Booktitle = {The Philosophy of the Beats},
   Publisher = {University Press of Kentucy},
   Editor = {Elkholy, SN},
   Year = {2012},
   Key = {fds305593}
}


%% Book Reviews   
@article{fds297743,
   Author = {Need, DN},
   Title = {“On Zhang Er’s So Translating Rivers and
             Cities”},
   Journal = {Talisman},
   Volume = {38/39/40 (Summer 2010)},
   Pages = {117-118},
   Year = {2010},
   Key = {fds297743}
}

@article{fds297744,
   Author = {Need, DN},
   Title = {“Guillevic’s The Sea and Other Poems”},
   Journal = {Talisman},
   Volume = {38/39/40 (Summer 2010)},
   Pages = {122-123},
   Year = {2010},
   Key = {fds297744}
}


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