By Clive Bloom, Brian Docherty
Tracing its origins again to Walt Whitman, the Modernist culture in American poetry is pushed via an analogous drawback to interact with the area in progressive phrases, encouraged through the concept that of democracy very important to the yankee dream. yet this custom isn't really restrained to some writers first and foremost of the century: as an alternative it's been an everlasting strength, extending from coast to coast and of various colors: Imagist, Objectivist, Beat. foreign in flavour yet formed through the language and stipulations of the US, this poetry keeps to talk to us this present day. This selection of particularly commissioned essays brings jointly top students and critics to outline the yank Modernist canon, delivering various views important to all these drawn to this attention-grabbing poetry.
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Additional resources for American Poetry: The Modernist Ideal
P. 163. Ezra Pound, Selected Prose, 1909-1965, ed. William Cookson (London: Faber, 1973) p. 59. Leon Surette, A Light from Eleusis: A Study of Ezra Pound's 'Cantos' (Oxford: Clarendon Press, 1979) pp. 221-2. , Collected Poems, p. 302. , Tribute to Freud (Manchester: Carcanet Press, 1985) p. 51. John B. Vickery, The Literary Impact of 'The Golden Bough' (Princeton: Princeton University Press, 1973) pp. 136, 140-2, 152-3. Arthur E. P. B. Weigall, Tire Paganism in our Christianity (London: Hutchinson, 1928) p.
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.
8. 4 Hart Crane GREGORY WOODS Hart Crane's place in the Modernist pantheon is established by The Bridge.