Download The Cambridge Introduction to Twentieth-Century American by Christopher Beach PDF

By Christopher Beach

Meant as a concise yet thorough advent to a number of the hobbies of 20th century American poets, this ebook can assist readers comprehend and research glossy and modern poems. It covers the paintings of significant modernists comparable to Robert Frost, Ezra Pound, Wallace Stevens, and Marianne Moore, in addition to the poets of the Harlem Renaissance, the hot Critics, the Confessionals, and the Beats.

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Extra resources for The Cambridge Introduction to Twentieth-Century American Poetry (Cambridge Introductions to Literature)

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The reference to Marvell’s poem further ironizes Prufrock’s position: unlike Marvell’s speaker, who attempts to use his powers of rhetorical persuasion to convince his “coy mistress” to sleep with him, Prufrock fails to persuade the woman of anything. ” The absurdly hyperbolic nature of Prufrock’s attempt to speak to the woman (also echoing the Greek myth of Sisyphus, condemned to roll a rock endlessly up a mountain and have it fall back down again) highlights the futility of his efforts.

The Vorticists encouraged a more dynamic approach to poetry, seeking the hardness and precision of sculpture rather than the static beauty of the image. The movement was to be short-lived – its journal Blast folded after two issues and Gaudier-Brzeska was killed in the war – but it added to Pound’s growing reputation as a literary provocateur. Pound also established relationships with various journals – including The Little Review, Poetry, and The Egoist – and with other writers, including Eliot and Frost.

Pound immediately foregrounds the relationship of poetry to history by quoting from a Provenc¸al biography of Sordello: “Li Sordels si fo di Montovana” (“Sordello comes from Mantua”). This introduction of a documentary fact about Sordello rejects the pseudo-historical fiction of Browning’s poem, establishing Pound’s claim to a Sordello who is closer to the original historical figure. In the following lines, however, Pound shifts to an entirely different poetic register, evoking a series of metamorphoses that seem far removed from the story of Sordello.

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