This study evaluates figure and form in contemporary poetry,
especially the powers of simile and simile-like structures.
Examining the works of Nemerov, Wilbur, Bowers, Hecht, Justice,
Cunningham, Bishop, Van Duyn, Hollander, Pack, Kennedy, Ammons,
Creeley, and Wright, Prunty argues that doubts about language, the
tradition, and theistic assumptions embedded in the tradition have
made simile and various simile-like arrangements into major modes
of thought. From Lowell's early interest in the "similitudo" and
the "phantasm" of Gilson, to Husserl's "phantasies" and Heidegger's
interest in similitude, to the use made by contemporary poets of
simile, he shows that metaphor--together with slippage, mimicry,
synaphea, conjunctions, anacoluthon, chiasmus, and other
simile-like patternings--have proven to be more trustworthy than
symbol and allegory. Throughout the study, Prunty demonstrates that
as uncertainty about language has changed from a predicament of
mind to a new way of thinking, simile and simile-like occurrences
have provided poetry with variational thought and constitutive
power.
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