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An exploration of the legacy of The Waste Land on the centenary of
its original publication, looking at the impact it had had upon
criticism and new poetries across one hundred years. T. S. Eliot
first published his long poem The Waste Land in 1922. The
revolutionary nature of the work was immediately recognised, and it
has subsequently been acknowledged as one of the most influential
poems of the twentieth century, and as crucial for the
understanding of modernism. The essays in this collection variously
reflect on The Waste Land one hundred years after its original
publication. At this centenary moment, the contributors both
celebrate the richness of the work, its sounds and rare use of
language, and also consider the poem's legacy in Britain, Ireland,
and India. The work here, by an international team of writers from
the UK, North America, and India, deploys a range of approaches.
Some contributors seek to re-read the poem itself in fresh and
original ways; others resist the established drift of previous
scholarship on the poem, and present new understandings of the
process of its development through its drafts, or as an
orchestration on the page. Several contributors question received
wisdom about the poem's immediate legacy in the decade after
publication, and about the impact that it has had upon criticism
and new poetries across the first century of its existence. An
Introduction to the volume contextualises the poem itself, and the
background to the essays. All pieces set out to review the nature
of our understanding of the poem, and to bring fresh eyes to its
brilliance, one hundred years on. Contributors: Rebecca Beasley,
Rosinka Chaudhuri, William Davies, Hugh Haughton, Marjorie Perloff,
Andrew Michael Roberts, Peter Robinson, Michael Wood.
Joseph Conrad is a key figure in modernist fiction, whose
innovative work engages with many of the crucial philosophical,
moral and political concerns of the twentieth century. This
collection of major critical readings of his work is arranged
according to the issues which each critic addresses, issues which
are of crucial importance, and in many cases remain controversial,
within contemporary literary theory and criticism.
Following an opening section on the critical tradition, indicating
how the study of Conrad's work has been politicised since the
1970s, there are sections on 'Narrative, Textuality and
Interpretation', 'Imperialism', 'Gender and Sexuality', 'Class and
Ideology', and 'Modernity'. Within each section two or three
critical excerpts offer contrasting and complementary accounts of
the fiction, while the headnotes to each piece and the introduction
place these excerpts within the wider critical debate, clarifying
for the reader both the theoretical issues and the interpretation
of Conrad's fiction. A glossary of terms and a bibliography
categorised by critical approach complete a volume which will
provide an invaluable resource for students of Conrad and
twentieth-century literature as well as other readers of Conrad's
work.
A clear introductory account of the work of Geoffrey Hill, one of
the finest but also most complex of contemporary British poets.
Geoffrey Hill is widely regarded as one of the finest British poets
of our time. His highly distinctive poetry is unrivalled in its
historical scope, philosophical depth and rhetorical power, and
joins intense ethical seriousness with wit, ambiguity and humour.
In his own terms a 'radically traditional poet', Hill combines
religious modes of thought with rigorous scepticism and, while
insisting on the importance of the past to an understanding of the
present, reveals the constructed nature of historical discourses.
His poetry eschews 'self-expression' yet explores the complexity of
selfhood. Hill's unusual subject-matter, formal richness and dense,
allusive style have often led to his work being read in isolation
from contemporary culture.In this clear but subtle discussion of
Hill's poetry, Andrew Roberts combines close reading of poems with
review of critical debates on this unique and often controversial
figure in contemporary literature, so as to do justice to Hill's
achievement whilst stressing its connection with contemporary
theoretical and cultural issues.
Joseph Conrad is a key figure in modernist fiction, whose
innovative work engages with many of the crucial philosophical,
moral and political concerns of the twentieth century. This
collection of major critical readings of his work is arranged
according to the issues which each critic addresses, issues which
are of crucial importance, and in many cases remain controversial,
within contemporary literary theory and criticism. Following an
opening section on the critical tradition, indicating how the study
of Conrad's work has been politicised since the 1970s, there are
sections on 'Narrative, Textuality and Interpretation',
'Imperialism', 'Gender and Sexuality', 'Class and Ideology', and
'Modernity'. Within each section two or three critical excerpts
offer contrasting and complementary accounts of the fiction, while
the headnotes to each piece and the introduction place these
excerpts within the wider critical debate, clarifying for the
reader both the theoretical issues and the interpretation of
Conrad's fiction. A glossary of terms and a bibliography
categorised by critical approach complete a volume which will
provide an invaluable resource for students of Conrad and
twentieth-century literature as well as other readers of Conrad's
work.
"In one of his final publications, Geoffrey Hill asserts his
commitment to 'the strangeness and the power of poetry'. The words
accord with many readers' responses to Hill's own poetry. It is
generally seen as 'powerful', in rhetorical, formal, intellectual
and emotional terms, and is much concerned with issues of political
and aesthetic power. ... 'Strangeness' may here stand for the
remarkable distinctiveness of his poetry, which over more than
sixty years, from the mid-1950s to his death in 2016, followed a
trajectory of development and innovation which engaged in unique
ways with many of the crucial questions in late twentieth century
and early twenty-first century poetics: the lyrical and the
anti-lyrical, Romantic, Modernist and earlier inheritances; form
and formal innovation; the personal and the impersonal; history and
ethics. But more than that, the word suggests the way in which that
poetry is somehow 'strange' and much concerned with strangeness, in
both negative and positive terms: estrangement, peculiarity,
revelation. Hill's writing fulfils to a high degree the Russian
Futurist aim of 'making strange' the familiar, as well as bringing
to the reader's attention, through its learning and allusion,
aspects of history and culture which are likely to be unfamiliar to
many. For some readers, Hill's late work in particular is simply
too 'strange' too resistant to reading and understanding. Both his
admirers and his detractors, and those who come somewhere between,
might acknowledge qualities of strangeness, even that if judgment
would carry different implications and values in each case. A
number of essays in this volume pair Hill with another poet, or
poets, to consider his 'strange likeness' with contemporaries and
predecessors." --from the editor's Introduction to this volume
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The Salt Companion to Mina Loy (Paperback)
Rachel Potter; Edited by (associates) Suzanne Hobson; Contributions by Tim Armstrong, David Ayers, Geoff Gilbert, …
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R799
R695
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The Salt Companion to Mina Loy comprises ten essays by leading
scholars and writers on the work of modernist poet Mina Loy. Loy
(1882-1966) formed part of the new generation of poets who
revolutionised writing in the early twentieth century. She had
personal and artistic links to Italian Futurism and Parisian
Surrealism, as well as to individuals such as James Joyce, Ezra
Pound, Wyndham Lewis, Djuna Barnes and Gertrude Stein. Working with
reference to, but also often against the ideas of these fellow
writers, her experimental, witty and inconoclastic poems were both
distinctive and arresting. Since the republication of her poems in
1996-7, Loy has gained in stature and importance both in the UK and
the US: her writing is now seen as central to literary innovations
in the 1910s and 1920s, and she is often a set author on
undergraduate and MA courses. Apart from the collection of essays
Mina Loy: Woman and Poet published twelve years ago, there is
currently no single book on Loy's work in print. The Companion will
be an invaluable new resource for students and readers of
modernism. It provides new perspectives and cutting-edge research
on Loy's work and is distinctive in its consideration of her
prosodic and linguistic experiments alongside a discussion of the
literary and historical contexts in which she worked. The
contributors include influential and emerging experts in modernist
studies. They are Peter Nicholls, Tim Armstrong, Geoff Gilbert,
David Ayers, Andrew Robertson, John Wilkinson, Suzanne Hobson,
Rachel Potter, Alan Marshall, Rowan Harris and Sandeep Parmar.
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