Download American Poetry: The Modernist Ideal by Clive Bloom, Brian Docherty PDF

By Clive Bloom, Brian Docherty

ISBN-10: 0333532899

ISBN-13: 9780333532898

Tracing its origins again to Walt Whitman, the Modernist culture in American poetry is pushed via an analogous quandary to have interaction with the area in progressive phrases, encouraged by means of the idea that of democracy very important to the yankee dream. yet this custom isn't really constrained to a couple writers first and foremost of the century: in its place it's been an everlasting strength, extending from coast to coast and of various colours: Imagist, Objectivist, Beat. foreign in flavour yet formed by means of the language and prerequisites of the United States, this poetry maintains to talk to us at the present time. This number of especially commissioned essays brings jointly prime students and critics to outline the yankee Modernist canon, offering quite a number views necessary to all these drawn to this interesting poetry.

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The postmodernist questioning of schisms such as surface/ depth, fragment/whole, outside/inside, was already being negotiated by the relational procedures Pound would have discovered in biological method (Agassiz), in transcendentalist anxieties about the developments in commerce (Emerson and Whitman), in the poetics of both China (Fenollosa) and France (Romains and 'Unanimism'), and in novelistic innovations (James): it was not accidental that the Little Review published Pound's essays on James and on Romains in 1918.

The genius can pay in nugget and in lump gold; it is not necessary that he bring up his knowledge into l'he mint of consciousness, stamp it into Ezra Pound 37 either the coin of conscientiously analysed form - detail knowledge or into tlze paper-money of words, before he transmit it. A bit of luck for a young man, and the sudden coagulation of bits of knowledge collected here and there during years, need not for the elder artist be re-sorted and arranged into coin. This sort of lump-payment is not mediumistic or psychic-painting; it is mastery.

Any presumed whole is dispersed in both forms of fragmentation. 20 Mauberley's complex scientific vocabulary in the 'Mauberley 1920' part of the sequence served as a system of investigation (within clearly defined limits, certainly, but what needs to be emphasised is the labour of that system nevertheless, and not merely the presumed passivity advocated by the bulk of the commentaries) which emerges, finally, as a complicated strategy for self-protection in difficult and uncongenial circumstances.

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