By Clive Bloom, Brian Docherty
Tracing its origins again to Walt Whitman, the Modernist culture in American poetry is pushed through a similar obstacle to interact with the area in progressive phrases, encouraged via the concept that of democracy very important to the yank dream. yet this practice isn't really restrained to some writers at first of the century: in its place it's been a permanent strength, extending from coast to coast and of various colors: Imagist, Objectivist, Beat. overseas in flavour yet formed through the language and stipulations of the USA, this poetry keeps to talk to us this present day. This choice of especially commissioned essays brings jointly major students and critics to outline the yank Modernist canon, supplying more than a few views invaluable to all these attracted to this attention-grabbing poetry.
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Extra resources for American Poetry: The Modernist Ideal
Never for a moment forgets that she is dealing with language, and accordingly underlines the magic potential of letters by repeating their divine origin from Mercury, Hermes, and Thoth. Playing on the distinction between words and primal logos, she frequently approaches the former as cryptograms where one term is embedded within another. In the section dealing with language ('The Walls' 10) 'Sword' breaks obviously into 'S + word'. If common words carry this potential, names are even more charged with meaning.
41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 27 Friedman, op. , p. 217. , Tribute to Freud, p. 88. ), Colonial American Writing (New York: Holt, Rinehart & Winston, 1969) p. 80. Friedman, op. , p. 221. Diana Collecott, 'Introduction', The Gift, p. xvii. This line is adapted in 'Tribute' 42. Pearson, p. ix. ', Tri-Quarterly, 12 (1968) p. 97. , Notes on Thought and Vision (San Francisco: City Lights Books, 1982) p. 24. H. , Tribute to Freud, p. 102. Friedman, op. , pp. 203, 204. H. , The Gift, p. 94. C.
See Karl Malkoff, 'Allusion as Irony: Pound's Use of Dante in Hugh Selwyn Mauberley', Minnesoia Review, VII (1967) p. 88. See Peter Makin, Pound's Cantos (London: George Allen and Unwin, 1985) pp. 277-8. See Daniel Pearlman, The Barb of Time: On the Unity of Ezra Pound's Cantos (New York: Oxford University Press, 1969) p. 61. In a letter to Paideuma, VII (Spring and Fa111978) pp. 34~. Cf. Robert G. Eisenhauer, "'Jeweller's Company": Topaz, Half-Light and Bounding-Lines in The Canlos', Paideuma, XI (Fall1980) p.
American Poetry: The Modernist Ideal by Clive Bloom, Brian Docherty