American Poetry: The Modernist Ideal by Clive Bloom, Brian Docherty

By Clive Bloom, Brian Docherty

Tracing its origins again to Walt Whitman, the Modernist culture in American poetry is pushed by way of an analogous trouble to have interaction with the area in progressive phrases, encouraged by way of the concept that of democracy very important to the yank dream. yet this custom isn't really restrained to a couple writers in the beginning of the century: as a substitute it's been an everlasting strength, extending from coast to coast and of various shades: Imagist, Objectivist, Beat. foreign in flavour yet formed via the language and stipulations of the USA, this poetry maintains to talk to us this present day. This selection of especially commissioned essays brings jointly best students and critics to outline the yank Modernist canon, delivering various views beneficial to all these attracted to this attention-grabbing poetry.

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American Poetry: The Modernist Ideal Edward Wadsworth, 'Inner Necessity', Blast, I (June 1914) p. 122. Omar Pound and A. Walton Litz (eds), Ezra Pound and Dorothy Shakespear. Their Letters 1909-1914 (London: Faber and Faber, 1984). William Atheling [Ezra Pound], 'Music', The New Age (15 April1920), reprinted in R. ), Ezra Pound and Music (London: Faber and Faber, 1978) p. 225. Cf. Berryman, Circe's Craft, pp. 141-4. Ezra Pound, The Spirit of Romance (London: Peter Owen, 1952) p. 34. See Karl Malkoff, 'Allusion as Irony: Pound's Use of Dante in Hugh Selwyn Mauberley', Minnesoia Review, VII (1967) p.

Hugh Kenner, The Pound Ezra (London: Faber and Faber, 1972) p. 30. Reed Way Dasenbrock, The Literary Vorticism of Ezra Pound and Wyndham Lewis (Baltimore and London: The Johns Hopkins University Press, 1985), pp. 246-7,66. ), A Recognisable Image: William Carlos Williams on Art and Artists (New York: New Directions, 1978) pp. 57-9. Max Beerbohm, 'A Defence of Cosmetics', The Yellow Book, 1 (April 1894) p. 65. All further references to this essay will be included parenthetically in the main body of the text.

P. 226; Gubar, op. , p. 75. Friedman, op. , p. 167. David Daiches, God and the Poets (Oxford: Clarendon Press, 1985) p. 159. 3 Ezra Pound IAN F. A. BELL Melville's Pierre, while 'immahtrely' attempting a 'mature work', produces manuscripts where 'chirographical incoherencies' mime the problem of expressing a 'wondrous suggestiveness' that is 'eternally incapable of being translated into words'. The epistemological and creative journey to 'some thoughtful thing of absolute Truth' is, by definition, taxing and one major lesson he fails to recognise in this proto-modernist text is urgent for the modernism Pound begins to explore in Hugh Selwyn Mauberley.

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