By Stephen Fredman
This Concise spouse provides readers a wealthy experience of ways the poetry produced within the usa in the course of the 20th century is attached to the country’s highbrow lifestyles extra commonly. is helping readers to totally get pleasure from the poetry of the interval by means of tracing its old and cultural contexts. Written via famous experts within the box. locations the poetry of the interval inside of contexts equivalent to: battle; feminism and the feminine poet; poetries of immigration and migration; communism and anti-communism; philosophy and conception. 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 quantity of curiosity to students in addition to scholars and basic readers.
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39). These playful inversions of logic are crucial to Stein’s way of seeing war. For if we have ﬁnally “killed” the nineteenth century, as she puts it (p. 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.
170), the poem as an expression of “the communality we have with all men, our interdependence everywhere in life” (Duncan 1963: 41). 21 Peter Nicholls George Oppen sought similarly to establish poetry as a medium of relationship rather than of hierarchy and authority. For him, as for Duncan, it was the spectacle of Pound’s war-speak that had to be avoided at all cost. Several of Oppen’s poems – for example, “Of Hours” and “The Speech at Soli” – confront that problem directly. In the ﬁrst, Oppen remembers “Burying my dogtag with H/ For Hebrew in the rubble of Alsace” (Oppen 2002: 218).
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.
A Concise Companion to Twentieth-Century American Poetry (Concise Companions to Literature and Culture) by Stephen Fredman