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Showing 1 - 18 of 18 matches in All Departments
The Oxford poets of the 1930s--W. H. Auden, C. Day Lewis, Stephen
Spender, and Louis MacNeice--represented the first concerted
British challenge to the domination of twentieth-century poetry by
the innovations of American modernists such as Ezra Pound and
William Carlos Williams. Known for their radical politics and
aesthetic conservatism, the "Auden Generation" has come to loom
large in our map of twentieth century literary history. Yet Auden's
voluble domination of the group in its brief period of association,
and Auden's sway with critics ever since, has made it difficult to
hear the others on their own terms and in their own distinct
voices.
Albert Gelpi's American Poetry after Modernism is a study of sixteen major American poets of the postwar period, from Robert Lowell to Adrienne Rich. Gelpi argues that a distinctly American poetic tradition was solidified in the later half of the twentieth century, thus severing it from British conventions. In Gelpi's view, what distinguishes the American poetic tradition from the British is that at the heart of the American endeavor is a primary questioning of function and medium. The chief paradox in American poetry is the lack of a tradition that requires answering and redefining - redefining what it means to be a poet and, likewise, how the words of a poem create meaning, offer insight into reality, and answer the ultimate questions of living. Through chapters devoted to specific poets, Gelpi explores this paradox by providing an original and insightful reading of late-twentieth-century American poetry.
"For too many decades Jeffers has been the forgotten giant of
American poetry. The Wild God of the World gathers his best and
most central work. For those who would discover Jeffers, the
intense beauty of his poems of the California coast; the reach of
his meditations on history, science, and God; and the lyricism of
his personal poems, this is the place to start--and a place to
return again and again." --Tim Hunt, Washington State
University
The Tenth Muse was enormously well-received when first published by Harvard University Press in 1975, and has been deemed a classic work. It was out of print for several years and then re- issued by Cambrirdge in this 1992 edition. In it Albert Gelpi asks hard questions about how poetry can take on for itself the problems of shaping American identities and argues that the conditions of American life and culture have pushed our major poets into a debate between intellect and passion. Gelpi provides thorough readings of major American poets from Bradstreet and Taylor up to the modernists, often using contemporary poets (Rich, Ginsberg, Duncan) as frames for those predecessors.
In this book Professor Gelpi traces the emergence of American Modernist poetry as a reaction to, and outgrowth of, the Romantic ideology of the nineteenth century. He focuses on the remarkable generation of poets who came to maturity in the years of the First World War and whose works constitute the principal body of poetic Modernism in English. This large historical argument is developed through monographic chapters on the poets which include close readings of their major poems. Comprehensive in scope and subtle in its analysis, Gelpi's book promises to be one of the major studies of American poetry for years to come.
Albert Gelpi's American Poetry after Modernism is a study of sixteen major American poets of the postwar period, from Robert Lowell to Adrienne Rich. Gelpi argues that a distinctly American poetic tradition was solidified in the later half of the twentieth century, thus severing it from British conventions. In Gelpi's view, what distinguishes the American poetic tradition from the British is that at the heart of the American endeavor is a primary questioning of function and medium. The chief paradox in American poetry is the lack of a tradition that requires answering and redefining - redefining what it means to be a poet and, likewise, how the words of a poem create meaning, offer insight into reality, and answer the ultimate questions of living. Through chapters devoted to specific poets, Gelpi explores this paradox by providing an original and insightful reading of late-twentieth-century American poetry.
Author of more than thirty books, Adrienne Rich was the singular voice of her generation, bringing discussions of gender, race and class to the forefront of poetical discourse. Selected Poems offers a full and representative selection of poems from the whole of Rich’s long and distinguished career. The volume encompasses her best-known work—the clear-sighted and passionate feminist poems of the 1970s, including “Diving into the Wreck”, “Planetarium”, and “The Phenomenology of Anger”—and offers the full range of her evolution as a poet. From poems leading up to her feminist breakthrough through bold later work such as “North American Time” and “Calle Visión”, Selected Poems expresses the vital dialogue between Rich’s personal experiences and political views. As the editors explain in their introduction, Selected Poems presents the complete picture of Rich’s powerful and deeply moving poetry, as well as the evolution in poetic forms that trace her radical vision.
This collection of essays, written for this volume and often using unpublished and archival materials, converges around the usually close and intense relationship between Robert Duncan and Denise Levertov, two of the most important and remarkable American poets in the second half of the twentieth century. Their association, played out in their poems and in an extraordinary exchange of letters, was based on a sense of the visionary imagination informing the direction and shape of the poet. However, they had a falling out during the Vietnam crisis over the relationship between poetry and politics, between the private and public responsibilities of the poet. Such issues are vital not only to their poetry and the poetry of that period but to contemporary poetry as well. A distinguished group of critics, led by Albert Gelpi and Robert J. Bertholf, examines the issues that drew Levertov and Duncan together, and split them apart, in a book that has the openness and coherence of an urgent, contemporary dialogue about the form and meaning of poetry.
This collection of essays, written for this volume and often using unpublished and archival materials, converges around the usually close and intense relationship between Robert Duncan and Denise Levertov, two of the most important and remarkable American poets in the second half of the twentieth century. Their association, played out in their poems and in an extraordinary exchange of letters, was based on a sense of the visionary imagination informing the direction and shape of the poet. However, they had a falling out during the Vietnam crisis over the relationship between poetry and politics, between the private and public responsibilities of the poet. Such issues are vital not only to their poetry and the poetry of that period but to contemporary poetry as well. A distinguished group of critics, led by Albert Gelpi and Robert J. Bertholf, examines the issues that drew Levertov and Duncan together, and split them apart, in a book that has the openness and coherence of an urgent, contemporary dialogue about the form and meaning of poetry.
This volume presents the complete correspondence between two of the most important and influential American poets of the postwar period. The almost 500 letters range widely over the poetry scene and the issues that made the period so lively and productive. But what gives the exchange its special personal and literary resonance is the sense of spiritual affinity and shared conviction about the power of the visionary imagination. Duncan and Levertov explore these matters in rich detail until, under the stress of dealing with the Vietnam War in poetry, they discover deep-seated differences in the religious and ethical convictions underlying their politics and poetic stance. The issues that drew them together and those that drove them apart create a powerful personal drama with far-reaching historical and cultural significance. The editors have provided a critical Introduction, full notes, a chronology, and a glossary of names.
Robinson Jeffers (1887-1962) is not only the greatest poet that the
American West has produced but also a major poet of the twentieth
century in the tradition of American prophetic poetry. This
anthology serves as an introduction to Jeffers's work for the
general reader and for students in courses on American poetry.
Writing America Black examines the African American press and selected literary works by black authors. By viewing the journalist's role as historian, reporter, tastemaker, and propagandist, C.K. Doreski reveals the close bond to a larger African American literary tradition. Rich in cultural and historical context, this valuable study will be of interest to readers of literature, history, African American studies, American studies, and journalism.
The Tenth Muse was enormously well-received when first published by Harvard University Press in 1975, and has been deemed a classic work. It was out of print for several years and then re- issued by Cambrirdge in this 1992 edition. In it Albert Gelpi asks hard questions about how poetry can take on for itself the problems of shaping American identities and argues that the conditions of American life and culture have pushed our major poets into a debate between intellect and passion. Gelpi provides thorough readings of major American poets from Bradstreet and Taylor up to the modernists, often using contemporary poets (Rich, Ginsberg, Duncan) as frames for those predecessors.
Poet's Prose is the first scholarly work devoted exclusively to American prose poetry and has been recognised as a pioneering study in contemporary American poetry. Many recent American poets have been writing prose; Fredman has set out to determine why and what it means. Three central works of American poets' prose are discussed in detail: William Carlos Williams' Kora in Hell, Robert Creeley's Presences, and John Ashbery's Three Poems. In these chapters, Fredman both demonstrates how to read these difficult works and examines their philosophical seriousness. In a final chapter and a new epilogue, he discusses the newest trends in contemporary poetry, the 'talk poems' of David Antin and the prose of the Language poets, in which poet's prose forms an important aspect of the 'theoretical poetry' now being written.
Poet's Prose is the first scholarly work devoted exclusively to American prose poetry and has been recognized as a groundbreaking study in contemporary American poetry. Many recent American poets have been writing prose; Fredman has set out to determine why and what it means. Three central works of American poets' prose are discussed in detail: William Carlos Williams' Kora in Hell, Robert Creeley's Presences, and John Ashbery's Three Poems. In these chapters, Fredman both carefully teaches us how to read these difficult works and examines their philosophical seriousness. In a final chapter and a new epilogue, he discusses the newest trends in contemporary poetry, the "talk poems" of David Antin and the prose of the Language poets, in which poet's prose forms an important aspect of the "theoretical poetry" now being written.
In this book Albert Gelpi traces the emergence of American Modernist poetry as a reaction to, and outgrowth of, the Romantic ideology of the nineteenth century. He focuses on the remarkable generation of poets who came to maturity in the years of the First World War and whose works constitute the principal body of poetic Modernism in English. Gelpi argues that the essential dialectic in Modernism extends and reconstitutes issues central to Romanticism. This is expressed in the interaction between two important strains in Modernism: the Symbolist exemplified in Wallace Stevens, T. S. Eliot, Allan Tate, and Hart Crane; and the Imagist, exemplified in Ezra Pound, H. D. and William Carlos Williams.
In this volume, seven renowned critics present different views of Wallace Stevens' place in the evolution of Modernist poetry. The essays offer a fresh scrutiny of the poet's work and influence, re-examining the critical consensus that has developed since Stevens first gained the attention of critics in the fifties. The collection traces both the development of Modernist poetics and Stevens' place in it, from the poet's relation to such contemporaries as Ezra Pound, William Carlos Williams and Marianne Moore to his influence on current writers such as John Ashbery and Robert Duncan. The contributions examine the cultural influences, or 'context', from which Stevens emerges: the Symbolist and Imagist traditions, the social and political context of the war years, and contemporary movements in the visual arts. Finally, two essays investigate the influence of Stevens on later poets.
C. Day-Lewis was a major figure in British poetry and culture from the 1930s until his death in 1972. The Golden Bridle: Selected Prose takes its title from the myth of Bellerophon and the golden bridle of Pegasus, which Day-Lewis invoked on several occasions as a metaphor for the creative process. Day-Lewis as poet is, then, the organizing idea of this anthology, and the selections indicate the scope and range of his vital engagement with English life and letters. Organised into four parts, the volume illustrates Day-Lewis's reflections on the role and function of poetry in society and culture; the creative process and the workings of the imagination as well as the nature of poetic truth and its relation to science; poets who were of particular importance to Day-Lewis; and the poetic process in relation to the composition of several of his own poems. The notes indicate the particular source, circumstances, and central issues of each piece, to provide a brief intellectual biography and critical account of this eminent poet's development and standing.
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