By Stephen Fredman
This Concise spouse provides readers a wealthy experience of the way the poetry produced within the usa throughout the 20th century is attached to the country’s highbrow lifestyles.
Written through fashionable experts within the box, the amount is helping readers to understand the poetry via situating it inside overlapping historic and cultural contexts, together with: conflict; feminism and the feminine poet; ''queer cities''; the impression of the hot York paintings global; African-American poetry and blues; poetries of immigration and migration; communism and anti-communism; and philosophy and idea. each one bankruptcy levels around the complete century, evaluating poets from one a part of the century to these of one other; and every one balances documentary assurance of context with sharp observation upon particular poems.
The significant other varieties an awesome advent to twentieth-century American poetry for college students, whereas its new syntheses will make it of curiosity to students to boot.
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Extra resources for A Concise Companion to Twentieth-Century American Poetry
Duncan suggests that poetic language – our now apparently anachronistic “delite” – acquires authenticity from the act of speaking against the language of war and thereby exposes the necessary “ﬂaw” in an otherwise impeccably circular logic. As for Stein, the “ﬂaw” is produced not just by seeing war but by seeing it through writing, an optic which also, as the Language poets would later conﬁrm, allows us to see the writing itself. The assumptions at work here, shared in different ways by poets such as Charles Olson, Robert Creeley, George Oppen, and Louis Zukofsky, return us inevitably to the primary inﬂuence all four shared – Ezra Pound – who, when Duncan wrote these lines, was conﬁned in St Elizabeth’s hospital, pending his eventual ﬁtness to stand trial for treason.
New York: New Directions. Levinas, Emmanuel (1969). Totality and Inﬁnity: An Essay on Exteriority, trans. Alphonso Lingis. Pittsburgh, PA: Duquesne University Press. MacLeish, Archibald (1933). Poems 1924–1933. Boston and New York: Houghton Mifﬂin Company. McAleavey, David (1985). “The Oppens: Remarks Towards Biography,” Ironwood, 26: 309–18. Mersmann, James F. (1974). Out of the Vietnam Vortex: A Study of Poets and Poetry Against the War. Lawrence: University Press of Kansas. Merton, Thomas (1969).
Indeed, with World War II, it was the very question of distancing which became for many writers a primary concern. How and from where do we see a war? This is one of the conundrums posed by Gertrude Stein’s Wars I Have Seen, ﬁrst published in 1945. It’s a title quite devoid of hyperbole: Stein was born in 1874, and her lifetime, as she reminds us, spanned the Spanish–American War, the Russo-Japanese War, the Boer War, the Chinese–Japanese War, the two Balkan wars, the Abyssinian War, the Spanish Civil War, as well as the two world wars (Stein 1945: 43, 64, 72).