In The Poetry of Disturbance, David Bergman argues that post-war
poetry underwent a significant if subtle shift in emphasis, moving
from the modernist concern with the poem as a visual text to one
that was chiefly oral in nature. The resulting change was
disturbing, especially for those brought up on the principles of
high modernism. This new stress on orality implied a shift in the
economy of the poem, away from the austerity of language advocated
by Pound and Eliot to a style that conveyed freedom, expansiveness,
and an innovative directness.
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