By Nigel Alderman, C. D. Blanton
This quantity introduces scholars to crucial figures, events and developments in post-war British and Irish poetry.
- An old evaluate and important creation to the poetry released in Britain and eire over the past half-century
- Introduces scholars to figures together with Philip Larkin, Ted Hughes, Seamus Heaney, and Andrew Motion
- Takes an integrative procedure, emphasizing the advanced negotiations among the British and Irish poetic traditions, and pulling jointly competing traits and positions
- Written by way of critics from Britain, eire, and the United States
- Includes feedback for extra examining and a chronology, detailing crucial writers, volumes and events
Read Online or Download A Concise Companion to Postwar British and Irish Poetry PDF
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Extra info for A Concise Companion to Postwar British and Irish Poetry
Qxd 09/02/2009 16:46 Page 17 Poetic Modernism and the Century’s Wars If the public convulsions of Liberalism in the twentieth century extend from 1914 to 1945, this lengthened moment may be synchronized as the interval of modernism, which achieves its signal intensity as the expression of the climax and climacteric of that failing intellectual and political institution. Not that modernism is pro- or anti-Liberal. Rather, the energy that we represent under this heading of “modernism” finds the timeliest crisis of its period as the defining experience of living in its surcharged present, and so represents the extended trials of Liberalism as its intensifying condition.
This is a pluralism of a different kind, one that underscores a larger critical question about what poetry does or can be expected to do in the early years of the twenty-first century: whether it looks forward or back, and whether it should. What is more certain is that any attempt to characterize the postwar period in general will have to acknowledge all of these tendencies at once, taking occasionally discordant and often contentious critical discussions as historical symptoms in their own right.
How, Propertius-like, might Pound play along with and pull against this existing linguistic condition? The verbal art special to Propertius features an interplay between an archly rationalist syntax and a wittily impenetrable vocabulary. On one side, the persona of the classics translator demonstrates a declarative knowiness about the materia poetica, here the site of ancient history and myth. Moving easily through this range of reference, Pound’s speaker builds a progression of apparently factual statements as logical, common-sensible propositions of obvious knowledge.