In this pioneering critical study, Deryn Rees-Jones discusses the
work of some of the major women poets of the last hundred years,
showing how they have explored what it has meant to be a woman poet
writing in a male-dominated poetic tradition. Beginning with Edith
Sitwell, Stevie Smith, Sylvia Plath and Anne Sexton, she shows how
an older generation resisted easy categorisation by forging highly
individual aesthetics and self-presentation. For Edith Sitwell, the
woman poet was to be 'as eloquent as a peacock'. Stevie Smith
compared poetry to 'a strong explosion in the sky' but did not
consider gender to be an important factor. Sylvia Plath, who
admired the work of both these poets, wanted to write in a way
which was 'not quailing and whining' but to produce 'working,
sweating, heaving poems born out the way words should be said.'
Anne Sexton, in her poem 'Consorting with Angels', writes that she
is 'tired of the gender of things' 'not a woman anymore,/ not one
thing or the other'. But despite their brilliance, their perceived
eccentricity - along with the suicides of Plath and Sexton - made
these major figures difficult acts to follow. Deryn Rees-Jones then
considers the poetry written in their wake, with essays covering
poets such as Moniza Alvi, Carol Ann Duffy, Vicki Feaver, Lavinia
Greenlaw, Selima Hill, Kathleen Jamie, Jackie Kay, Gwyneth Lewis,
Medbh McGuckian, Alice Oswald and Jo Shapcott. While these women
all have very different writing styles, Rees-Jones argues that
common strategies emerge which link them to their poetic
predecessors, showing how they have developed an aesthetic which
allows them to explore their femininity. Taking account of the
importance to these women of the work of their male contemporaries,
her incisive essays open up new perspectives on the poetry of the
20th and 21st centuries. Deryn Rees-Jones's companion anthology
Modern Women Poets is published at the same time as Consorting with
Angels.
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