This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1937.

Listening to poets read their work focuses critical attention on the craft of the poem, while raising questions about the relationship between social history, technology, and the poet's "voice." "Recorded Poetry and Poetic Reception from Edna Millay to the Circle of Robert Lowell" offers an analysis of a wide range of recordings, from commercial and amateur, to official studio sessions, to ephemeral events captured on reel-to-reel tape. Through the mid-century performances of poets such as Elizabeth Bishop, Dylan Thomas and Anne Sexton, Derek Furr draws penetrating new conclusions about how and why poetry was recorded in the U.S. from the 1930s to the 1970s.

Gary Waller surveys Spenser's career in terms of the material conditions of its production - the often overlooked material factors of race, gender, class, agency - and the resonant 'places' which influenced his career - court, church, nation, colony. The book includes an original account of the gender politics of Spenser's work and his difficult position between Ireland and England, the 'homes' about which he held ambivalent feelings. Waller also discusses the 'place' the biographer occupies in writing a literary life.

At the center of Hardy's aesthetic practice is the recognition of desire as a necessary and fundamental condition of human existence. Yearning, disappointment, frustration and loss determine the relationship of his characters and poetic personae to the world and the systems in which their sense of self is expressed and constituted. Yet his work also explores the positive, dynamic and productive dimension of desire. Structured around the themes of home and homelessness; eroticism; Poor Men, Ladies and social aspiration; the transgressivity of cross dressing; the creation of "sapphic spaces;" aesthetic desire and its fulfilment in the achieved work of art, Thomas Hardy and Desire demonstrates Hardy's commitment, as an artist in pursuit of "a way to the better," to exploring how the energy of desire pushes beyond the boundaries of class, sexuality, gender and even language itself to bring new ways of being and doing into the realm of knowledge.

In a unique collection of essays devoted to one of America's most significant twentieth-century poets, a group of international contributors considers the Transatlantic nature of Stevens' poetry, providing original accounts of how a poet wary of 'influence' created a poetics which continues to haunt contermporary verse.

"Modern Poetry and Ethnography: Yeats, Frost, Warren, Heaney, and the Poet as Anthropologist maps a new approach to the works of W.B. Yeats, Robert Frost, Robert Penn Warren, and Seamus Heaney. Heuston analyzes the ways the works of each writer represent and explain a country or region (Ireland for Yeats, New England for Frost, the American South for Warren, and Northern Ireland for Heaney) as if the writers were anthropologists or ethnographers. This project argues provocatively that literary critics can benefit greatly from the insights and theories of anthropology and ethnography"--

In this first book-length study of Stevie Smith, Romana Huk reassesses the work of this major twentieth-century woman writer as emerging not only from the practices of female literary modernism, but also from within the tumultuous cultural context of mid-century Europe. Huk considers both the poems and the novels in the light of their cultural and literary context. Amongst the work treated here is Smith's rarely discussed trilogy of novels: Novel on Yellow Paper , Over the Frontier and The Holiday .

The conventional picture of the young Hopkins as a conservative High-Church ritualist is starkly contested by this study which draws upon his unpublished Oxford essays on philosophy to reveal a boldly speculative intellectual liberal. Less concerned with Christian factionalism than with countering contemporary threats to faith itself, Hopkins' thought is seen to follow that of his teachers Benjamin Jowett and T. H. Green, who turned to Kant and Hegel to vouchsafe the grounds of Christian belief against contemporary scientism. Hopkins' personal metaphysic of 'inscape' and 'instress', which has long been recognized as crucial to the understanding of his poetry, is traced here to concepts derived from the 'British Idealism' he encountered at Oxford and the new energy physics of the 1850s and 1860s. By locating his thought at the intellectual avant-garde of his age, the striking modernity of his poetry need no longer be seen as an historical anomaly. The book offers radical re-readings not only of his metaphysics and theology, but also of his best-known poems.

Surveying the later work of W.B. Yeats and Wallace Stevens, Edward Clarke unfolds their very last poems and considers the two poets' relations with western literature and tradition. This book shows how these two latecomers transform the ways in which we read earlier poets.

Born Rosa Lebensboym in Belarus, Anna Margolin (1887-1952) settled permanently in America in 1913. A brilliant yet largely forgotten poet, her reputation rests on her volume of poetry published in Yiddish in 1929 in New York City. Although written in the 1920s, Margolin's poetry is remarkably fresh and contemporary, dealing with themes of anxiety, loneliness, sexual tensions, and the search for intellectual and spiritual identity, all of which were clearly reflected in her own life choices. Sensitively and beautifully translated here, the poems appear both in the original Yiddish and in English translation. Shirley Kumove's fascinating critical-biographical introduction highlights Margolin's tempestuous and unconventional life. An exceptionally beautiful and gifted woman, Margolin adopted a bohemian and an eccentric lifestyle, and threw herself into both intellectual pursuits and romantic attachments beyond her two marriages.

This book is a full-length study of the British novelist, poet, and illustrator Stevie Smith (1902-1971). It draws on extensive archival material to offer new insights into her work, challenging conventional readings of her as an eccentric. It reveals the careful control with which she managed her public persona, reassesses her allusive poetry in the light of her own conflicted response to written texts, and traces her simultaneous preoccupation with and fear of her reading public. William May considers the influence of artists such as George Grosz and Aubrey Beardsley on her apparently artless illustrations and explores her use of fiction and book reviews as a way of generating contexts for her poetry, offering readers a fascinating in-depth study that not only radically alters our understanding of Smith and her work, but provides new perspectives on British twentieth-century poetry and its reception.

Christopher Marlowe is known not only as Shakespeare's most notable contemporary playwright, but also as one of the most intriguing figures of the English Renaissance. The mystery of his death in a fray at the age of 29 has inspired writers around the world, and his fiery career is no less intriguing. This New Casebook offers a wide-ranging selection of essays on Marlowe's major plays. Articles from the last two decades by leading critics of English early modern drama provide a variety of fresh, controversial and enlightening critical perspectives on five of Marlowe's plays: Tamburlaine the Great Parts One and Two, The Jew of Malta, Doctor Faustus, and Edward II.

A groundbreaking contribution to the critical literature, this volume represents the most extensive study of the fantastic in poetry published to date. Designed to serve both as an introduction to and a historical overview of fantastic poetry in the Anglo-American tradition, the authors closely analyze specific periods and poems in order to illuminate more clearly the relationships among fantasty, the fantastic, science fiction, and poetry. The scope of the study is unusually broad and encompasses material from Spenser through the work of a wide range of contemporary American and British poets. Although the contributors focus primarily on English-language authors, their essays provide theoretical and practical criticism relevant to the study of the fantastic in poetry in any language. Among the innovative approaches developed are a feminist-fantastic revisionary reading of Keat's Lamia and a conceptualization of the role of fantasy in the writing of holocaust poetry. In addition, the contributors analyze such works as C.S. Lewis's Dymer, Ed Dorn's Slinger, Victorian women's fantasies, the poetry of Margaret Atwood, Anne Sexton, Ursula K. Le Guin, and many others. Taken together, these essays should not only spark critical debate on the intersection of fantasy and poetry but also become the essential starting point for any new criticism of fantastic poems.

Peter McDonald offers a controversial reading of twentieth-century British and Irish poetry centred on six figures, all of whom are critics as well as poets: W. B. Yeats, T. S. Eliot, W. H. Auden, Louis MacNeice, Seamus Heaney, and Geoffrey Hill. Serious Poetry provocatively returns these writers to the elements of difficulty and cultural disagreement where they belong.

This book explores the urban, cosmopolitan sensibilities of Urdu poetry written in the late eighteenth and early nineteenth centuries in Lucknow, which was the center of a flourishing Indo-Islamic culture. Ruth Vanita analyzes Rekhti, a type of Urdu poetry distinguished by a female speaker and a focus on women's lives, and shows how it became a catalyst for the transformation of the ghazal.

The twenty-first edition of the International Who's Who in Poetry is a unique and comprehensive guide to the leading lights and freshest talent in poetry today. Containing biographies of more than 4,000 contemporary poets world-wide, this essential reference work provides truly international coverage. In addition to the well known poets, talented up-and-coming writers are also profiled. Key Features: - each entry provides full career history and publication details - appendices section lists international prizes, organizations and poetry publications, lists of Poets Laureate.

That Ezra Pound was the chief architect of Modernism in English and American poetry is well established. So, too, is the fact that in T. S. Eliot he discovered a peer, whose early career he fostered. Together, Pound and Eliot defined what Modern Poetry meant. But they also had peers in two great Irish writers: Yeats in poetry and Joyce in fiction. With them, they were major shapers of the Modernist style. The Age of Modernism was dominated by American and Irish writers who took part in reshaping the English literary tradition in the twentieth century. "Ezra Pound and Modernism" was the topic of the 25th Ezra Pound International Conference in Dublin in July of 2013, and the papers selected for this volume clearly demonstrate that.Modernism had both American and Irish roots. Modernism in English literature had its origins in the work of Irish and American writers. Pound was the chief advocate of a new literary style in English, which the writings of Yeats, Joyce, and T. S. Eliot would articulate. Ulysses and The Waste Land, published in the same year, 1922, would become its complex masterpieces, still challenging readers after nearly a century, and still unsurpassed.

Richard Cardwell was given the Elma Dangerfield Award of the International Byron Society for the best book on Byron in 2005-06 Byron, arguably, was and remains the most famous and infamous English poet in the modern period in Continental Europe. From Portugal in the West to Russia in the East, from Scandinavia in the North to Spain in the South he inspired and provoked, was adored and reviled, inspired notions of freedom in subject lands and, with it, the growth of national idealisms which, soon, would re-draw the map of Europe. At the same time the Byronic persona, incarnate in Childe Harold, Manfred, Lara and others, was received with enthusiasm and fear as experience demonstrated that Byron's Romantic outlook was two-edged, thrilling and appalling in the same moment. All the great writers-Goethe, Mickiewicz, Lermontov, Almeida Garret, Espronceda, Lamartine, among many others-strove to outdo, imitate, revise, and integrate the sublime Lord into their own cultures, to create new national voices, and to dissent from the old order. The volume explores Byron's European reception in its many guises, bringing new evidence, challenging old assumptions, and offering fresh perspectives on the protean impact of Lord Byron on the Continent. This book consistes of two volumes. Series Editor: Dr Elinor Shaffer FBA, Institute of Germanic & Romance Studies, School of Advanced Study, University of London Contributors Richard A. Cardwell, University of Nottingham, UK Joanne Wilkes, University of Auckland, NZ Peter Cochran, Cambridge, UK Ernest Giddey, University of Lausanne, Switzerland Edoardo Zuccato, IULM University, Milan Giovanni Iamartino, University of Milan, Italy Derek Flitter, University of Birmingham, UK Maria Leonor Machado de Sousa, University of Lisbon, Portugal Mihaela Anghelescu Irimia, University of Bucharest, Romania Frank Erik Pointner, University of Duisburg-Essen, Germany Achim Geisenhansluke, University of Duisburg-Essen, Germany Theo D'haen, Leiden University, The Netherlands Martin Prochazka, Charles University, Prague, Czech Republic Miroslawa Modrzewska, University of Gdansk, Poland Orsolya Rakai, Budapest, Hungary Nina Diakonova, St. Petersburg, Russia Vitana Kostadinova, Plovdiv University, Bulgaria Jorgen E. Nielsen, Copenhagen, Denmark Bjorn Tysdahl, University of Oslo, Norway Ingrid Elam, Sweden Anahit Bekaryan, Institute of Fine Arts of the National Academy of Sciences of the Republic of Armenia Innes Merabishvili, State University of Tbilisi, Georgia Litsa Trayiannoudi, Aristotle University of Thessaloniki, Greece Massimiliano Demata, Mansfield College, Oxford, UK

Caribbean poetry written in English has been attracting growing amounts of scholarly attention. The first substantial annotated bibliography of primary and secondary materials related to the topic, this reference chronicles the development of Anglophone Caribbean poetry from 1970 through 2001. Included are nearly 900 entries for anthologies, reference works, conference proceedings, critical studies, interviews, and recorded works. The volume also includes a chronology, an overview of the development and significance of Caribbean poetry in English, and extensive indexes.

In 1971 the Association for Commonwealth Literature and Language Studies held a conference on West Indian literature at the University of the West Indies. This was the first assembly for the discussion of West Indian literature by West Indian people on West Indian soil. Since then, interest in Caribbean poetry written in English has grown dramatically. Caribbean poetry was influenced by the American Black Power movement during the 1970s, and women poets began to contribute their voices throughout the 1980s. Caribbean poets have, in turn, gained greater access to publishing outlets, resulting in a wider international readership and a corresponding increase in scholarly and critical studies. This book is the first substantial annotated bibliography of primary and secondary materials related to Caribbean poetry written in English.

The volume begins with the rise of interest in Anglophone Caribbean poetry in the 1970s and continues through 2001. Included are entries for nearly 900 anthologies, reference works, conference proceedings, critical studies, interviews, and recordings. The entries are grouped in chapters devoted to particular types of works. In addition, the volume includes a chronology, a discussion of the history of Anglophone Caribbean poetry, and extensive indexes.

This book uses the theme of "debatable lands," a term first applied to disputed parts of the Anglo-Scottish border, to explore aspects of writing in the Romantic period. Walter Scott brought it to a wider public, and the phrase came to be applied, by metaphorical extension, to debates which were not so much geographical but intellectual, political or artistic. These debates are pursued in a collection of essays grouped under the headings "Britain and Ireland" and Europe and Beyond."

"Like Joseph in Beauty" traces the evolution of an Arabic poetic form called 'Humayni poetry'. From Muslim mystical circles, the courts of aristocrats in Highland Yemen, and kabbalist circles of Yemenite Jews, Humayni poetry distinguishes itself with lyricism, musicality, and eroticism. It also plays a variety of code-switching linguistic games. The book addresses the connections between the Humayni poetry of Yemen and the sacred poetry of Jews from Yemen, a hitherto-neglected chapter in the history of Arabic and Jewish literatures. The book culminates with a discussion of ways in which poets and critics in modern-day Yemen and in Israel transformed this poetry.

This collection of twelve critical essays on women's poetry of the eighteenth century and enlightenment is the first to range widely over individual poets and to undertake a comprehensive exploration of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage, are themes of the collection, which includes discussions of the distinctive projects of Mary Leapor, Ann Yearsley, Helen Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and Lucy Aikin.