By Stephen Fredman
This Concise better half offers readers a wealthy feel of the way the poetry produced within the usa through the 20th century is attached to the country’s highbrow lifestyles.
Written by means of well known experts within the box, the quantity is helping readers to understand the poetry by way of situating it inside overlapping old and cultural contexts, together with: warfare; feminism and the feminine poet; ''queer cities''; the effect 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 better half varieties an awesome advent to twentieth-century American poetry for college students, whereas its new syntheses will make it of curiosity to students besides.
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Additional info for A Concise Companion to Twentieth-Century American Poetry
These are poems of distances and “desolate ﬁelds” (Pound 1990: 137), which powerfully evoke the loneliness and disorientation of war even as they take their models from a remote and ancient culture. The poems of Cathay certainly remain, as Kenner says, “among the most durable of all poetic responses to World War I,” though Pound’s sweeping chronological detour would never again seem quite appropriate to the challenge of writing about war. Indeed, with World War II, it was the very question of distancing which became for many writers a primary concern.
16), that means that we are no longer tied to the obviousness of literary realism and can begin to understand that “life is not real it is not earnest, it is strange which is an entirely different matter” (p. 44). Stein draws a distinction between World War I, which, she says, belongs to the nineteenth century and has a “legendary” aspect, and World War II which is not “legendary” at all (p. 20; see also Rose 1993: 16–18). Her way of then projecting this as a parallel distinction between conventional literary realism and modernist “strangeness” might strike us initially as perverse.
Stein’s title neatly addresses itself to the problems attached to writing about war. Wars I Have Seen – it’s a point of view at once relative and self-emphasizing, at once involved and detached. Stein is as suspicious of the ﬁrst person plural, the national “we,” as she is of what Malcolm Cowley had called the “spectatorial attitudes” of some of those who had written about World War I (Cowley 1934: 38). In Stein’s case, though, the “seeing” is 16 Wars I Have Seen being done by someone apparently immersed in domestic routine – “Yesterday,” she says, “I went my usual twelve kilometres to get some bread and cake” (p.