N THE FORTY YEARS, almost, since the publication of Harold Bloom's Wallace Stevens: The Poems of Our Climate, Stevens scholarship has weathered, and indeed has often forecasted, sea-changes that have al- tered the contours of literary studies. Bloom's psychopoiesis has fared less well, however. His signature swerve (or clinamen) has been superseded by other turns—spatial, transnational, historical—and as the paradigms have shifted, Bloom's vertical model of poetic genealogy has been undermined by the transversal and mobile modalities of Deleuze and Guattari's rhi- zome. Troping the trope a la Bloom has become, if not a proscribed activ- ity, then a guilty pleasure. That said, and even if we move on to consider Stevens and Whitman under different rubrics, it would be downright per- verse to broach the topic of this special issue of the Wallace Stevens Journal without first revisiting Bloom. The "account of the interpoetic relation between Whitman and Ste- vens" in The Poems of Our Climate is, by Bloom's own admission, "very complex" (11), but his nonetheless remains the "standard," if not the sole, study of the subject. Diane Middlebrook's Walt Whitman and Wallace Ste- vens predates Bloom's book, and although Middlebrook was Bloom's stu- dent, her comparativist approach "is not based on (his) idea of influence" (19). Where Middlebrook treats the two poets "separately but symmetri- cally" in order to assess the effects of a loose analogy between Stevens' and Whitman's romantic conception "of the mind's creative relation to reality" (19), Bloom anatomizes, in his own words, "overt allusions" that "conceal as much as they reveal of Whitman's deepest and most anxiety- inducing influences upon Stevens" (15).

中文翻译：

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海滩男孩：史蒂文斯、惠特曼和法美现代主义

在哈罗德·布鲁姆的《华莱士·史蒂文斯：我们气候的诗篇》出版后的四十年里，史蒂文斯的学术经历了，而且确实经常预测，改变了文学研究轮廓的巨变。然而，布鲁姆的心理创造表现得不太好。他标志性的转向（或clinamen）已经被其他转向——空间的、跨国的、历史的——所取代，随着范式的转变，布鲁姆的诗歌谱系的垂直模型已经被德勒兹和加塔利的根茎的横向和移动模式所破坏。如果不是被禁止的活动，那就是一种罪恶的快感。也就是说，即使我们继续在不同的标题下考虑史蒂文斯和惠特曼，如果不首先重温布卢姆，就提出本期《华莱士史蒂文斯杂志》特刊的主题，那将是彻头彻尾的反常。布卢姆自己承认，《我们气候的诗》中“对惠特曼和史蒂文斯之间的诗意关系的说明”“非常复杂”（11），但他仍然是“标准”，如果不是唯一的研究的主题。黛安·米德布鲁克 (Diane Middlebrook) 的沃尔特·惠特曼 (Walt Whitman) 和华莱士·史蒂文斯 (Wallace Stevens) 早于布鲁姆的书，尽管米德尔布鲁克是布鲁姆的学生，但她的比较主义方法“并非基于（他的）影响力观念”（19）。米德尔布鲁克“分别但对称地”对待这两位诗人是为了评估史蒂文斯和惠特曼的浪漫主义“心灵”概念之间的松散类比的影响