By Stephen Fredman
This Concise spouse offers readers a wealthy experience of ways the poetry produced within the usa throughout the 20th century is hooked up to the country’s highbrow existence extra widely. is helping readers to completely relish the poetry of the interval by way of tracing its historic and cultural contexts. Written by means of renowned experts within the box. locations the poetry of the interval inside of contexts akin to: conflict; feminism and the feminine poet; poetries of immigration and migration; communism and anti-communism; 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. New syntheses make the amount of curiosity to students in addition to scholars and basic readers.
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Extra resources for A Concise Companion to Twentieth-Century American Poetry (Concise Companions to Literature and Culture)
Indeed, the respective languages of war and poetry have been bound together in interacting cycles of attraction and repulsion. On the one hand, the poetic idiom presents itself as more accurate, more authentic, more expressive of those human values so systematically trampled on in war; on the other hand, it is poetry which has so regularly been ransacked for the memorable tropes of political demagogy. This is the “High Diction” of which Paul Fussell speaks in his seminal The Great War and Modern Memory (1975), and while there is little signiﬁcant twentieth-century American poetry in the heroic mode after the World War I writings of Alan Seeger and Joyce Kilmer, we do ﬁnd that American political rhetoric is increasingly dependent on the tropes of a phoney poetic sublime: Shock and Awe, the threat of “an attack/ that will unleash upon Iraq// levels of force that have never been/ imagined before, much less seen” (quoted in Geoff Brock’s poem “Poetry & the American Voice” in Hamill 2003: 42), the promise of “unbelievable” force in the lead-up to the attack on Fallujah, and so on.
Demonic industries! Spectral nations! Invincible mad-houses! Granite cocks! ” (Ginsberg 1995: 131–2). Ginsberg’s “howl” is against not only these literal spaces of miserable conﬁnement, but 13 Peter Nicholls against a closed language which can be broken open only by something as primitive and inchoate as a howl. And by closure here I mean exactly what Roland Barthes meant when he wrote of totalitarianism as a world in which: deﬁnition, that is to say the separation between Good and Evil, becomes the sole content of all language, there are no more words without values attached to them, so that ﬁnally the function of writing is to cut out one stage of a process: there is no more lapse of time between naming and judging, and the closed character of language is perfected, since in the last analysis it is a value which is given as explanation of another value.
He quickly composed a letter to “Friends and Fellow Poets” in which he asked writers to register their opposition to the war by contributing a poem to his website. In the space of not more than a month, he had received 13,000 poems. From his huge electronic manuscript, Hamill quarried the contents of a condensed anthology, Poets Against the War, published later that year. ” These two projects alone tell us a lot about the level of animus directed against Bush and his bellicose supporters, but they also raise some interesting questions about the means adopted to channel this feeling.
A Concise Companion to Twentieth-Century American Poetry (Concise Companions to Literature and Culture) by Stephen Fredman