By Stephen Fredman
This Concise spouse offers readers a wealthy experience of the way the poetry produced within the usa in the course of the 20th century is hooked up to the country’s highbrow existence.
Written by way of favourite experts within the box, the quantity is helping readers to understand the poetry via situating it inside overlapping historic and cultural contexts, together with: warfare; feminism and the feminine poet; ''queer cities''; the effect of the recent York paintings global; African-American poetry and blues; poetries of immigration and migration; communism and anti-communism; and philosophy and thought. every one bankruptcy levels around the whole century, evaluating poets from one a part of the century to these of one other; and every one balances documentary insurance of context with sharp observation upon particular poems.
The spouse types a terrific creation to twentieth-century American poetry for college kids, whereas its new syntheses will make it of curiosity to students besides.
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Extra info for A Concise Companion to Twentieth-Century American Poetry
These playful inversions of logic are crucial to Stein’s way of seeing war. For if we have ﬁnally “killed” the nineteenth century, as she puts it (p. 16), that means that we are no longer tied to the obviousness of literary realism and can begin to understand that “life is not real it is not earnest, it is strange which is an entirely different matter” (p. 44). Stein draws a distinction between World War I, which, she says, belongs to the nineteenth century and has a “legendary” aspect, and World War II which is not “legendary” at all (p.
Not war, then, nor its tautological language of ﬁxed terms, but a thinking which for Hejinian is once again preﬁgured in Stein’s work, with its commitment to “beginning again and again” (Hejinian 2000a: 102). Stein, says, Hejinian, “invented a mode of iteration to indicate not recurrence but phenomenological occurrence, the perpetual coming into being through accumulated instances of the person that is” (Hejinian 2000a: 289). This “coming into being,” as Hejinian calls it, is at once our coming into social being and the appearance of the poem which announces it as something new and unexpected.
The successive breakthroughs of Dada – with its blurring of distinctions between art and the world; of Surrealism – with its techniques of automatic writing and random visual composition; of Abstract Expressionism – with its gestural spontaneous style; of John Cage’s revolutionary use of chance in composing music and poetry; and of the further intrusions into daily life of Conceptual and Performance Art – all these breakthroughs provided fertile examples and encouragement to experimental poets both within and beyond New York City.