A History of modernist poetry by Davis, Alex; Jenkins, Lee Margaret

By Davis, Alex; Jenkins, Lee Margaret

A background of Modernist Poetry examines cutting edge anglophone poetries from decadence to the post-war interval. the 1st of its 3 components considers formal and contextual matters, together with delusion, politics, gender, and race, whereas the second one and 3rd components speak about a variety of person poets, together with Ezra Pound, T.S. Eliot, W.B. Yeats, Mina Loy, Gertrude Stein, Wallace Stevens, William Carlos Williams, and Marianne Moore, in addition to key activities akin to Imagism, Objectivism, and the Harlem Renaissance. This booklet additionally addresses the influence of either global Wars on experimental poetries and the the most important function of magazines in disseminating and proselytizing on behalf of poetic modernism. the gathering concludes with a wide-ranging dialogue of the inheritance of modernism in fresh writing on either side of the Atlantic

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Melvin B. Tolson, Libretto for the Republic of Liberia. Wallace Stevens, Collected Poems. Williams Carlos Williams, The Desert Music. Hugh MacDiarmid, In Memoriam James Joyce: From a Vision of World Language. Ezra Pound, Section: Rock-Drill de los Cantares. William Carlos Williams, Journey to Love. Death of Wallace Stevens. John Ashbery, Some Trees. T. S. Eliot, ‘The Frontiers of Criticism’ delivered as a lecture. Allen Ginsberg, Howl and Other Poems. Frank O’Hara, Meditations in an Emergency. Situationist International formed.

Chronology 1927 1928 1929 xxix Louis Aragon, Le Paysan de Paris. Bauhaus opens in Dessau. General Strike in Britain. Langston Hughes, Fine Clothes to the Jew. Gertrude Stein, ‘Patriarchal Poetry’. Louis Zukofsky begins “A” (completed in 1978). American Caravan founded (yearbook until 1936). transition magazine founded (until 1938). Wyndham Lewis, Time and Western Man. Laura Riding and Robert Graves, A Survey of Modernist Poetry. Martin Heidegger, Being and Time. Alan Crosland, The Jazz Singer.

17 Notwithstanding the genre-bending quality of modernist artworks – most evident in the modernist manifesto’s double function as artefact and polemic – Eliot’s influence on the New Criticism is a case in point of the way in which the multiplicity of poetic modernisms has been obscured. Eliot, or at least as the New Critics tended to construe him, secured poetry’s place as a privileged genre, and fostered the fetishised notion of the poem as an autotelic and impersonal artwork. 18 The subsequent opening up of the canon across the discipline of English has generated new or renewed attention to modernist poets whose gender and ethnicity differentiate them from the so-called ‘men of 1914’, to which the burgeoning critical interest in Mina Loy and Claude McKay, among many others, attests.

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