By Davis, Alex; Jenkins, Lee Margaret
A historical past of Modernist Poetry examines leading edge anglophone poetries from decadence to the post-war interval. the 1st of its 3 elements considers formal and contextual concerns, together with delusion, politics, gender, and race, whereas the second one and 3rd components speak about quite a lot of person poets, together with Ezra Pound, T.S. Eliot, W.B. Yeats, Mina Loy, Gertrude Stein, Wallace Stevens, William Carlos Williams, and Marianne Moore, in addition to key activities equivalent to Imagism, Objectivism, and the Harlem Renaissance. This ebook additionally addresses the impression of either international Wars on experimental poetries and the an important function of magazines in disseminating and proselytizing on behalf of poetic modernism. the gathering concludes with a wide-ranging dialogue of the inheritance of modernism in fresh writing on each side of the Atlantic
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Extra info for A History of modernist poetry
9 Under these conditions, with action mediated and agency obscured among the Malatesta Cantos’ reams of proper names and personal pronouns, identity seems more than usually the product of, and vulnerable to, the press of circumstance. The most prominent formal innovation of Cantos VIII–XI is the clutter of prose documents, especially of letters, which Pound assembles, as though to expose the raw materials of history and at the same time to make us intimate with the process of its composition. 10 Yet in drawing us into this practice of composition, Pound also blocks us out.
Stein, and Stevie Smith. Johnston examines the ways in which modernist poems deploy cultural mythologies to deﬁne sexuality, then reinscribe sexuality and gender through self-mythologising. The chapter emphasises the material and linguistic sexual politics of the period, Introduction: Modernist Poetry in History 11 showing how modernist poetry extends gendered social organisation. Timothy Yu’s chapter turns to the topic of modernist poetry and race, interrogating modernist poetry’s fascination with racial discourses, from primitivism to modernist Orientalism.
Is modernism an ‘international’ or even transnational phenomenon, or is it wedded to notions of cultural nationalism and regional identity? Does modernism mark a moment of avant-garde rupture with its late nineteenth-century poetic antecedants, or a reinﬂection and continuation of their preoccupations? 1 Arguably, these binaries are specious, and modernism is better understood, in the words of one of the great late modernist set-pieces, Wallace Stevens’s ‘Notes Toward a Supreme Fiction’ (1942), as ‘not a choice / Between excluding things.