American Poetry: The Modernist Ideal by Clive Bloom, Brian Docherty

By Clive Bloom, Brian Docherty

Tracing its origins again to Walt Whitman, the Modernist culture in American poetry is pushed via an identical quandary to interact with the area in progressive phrases, encouraged through the idea that of democracy very important to the yank dream. yet this practice isn't really limited to some writers before everything of the century: as an alternative it's been a permanent strength, extending from coast to coast and of various colorings: Imagist, Objectivist, Beat. foreign in flavour yet formed by way of the language and stipulations of the US, this poetry keeps to talk to us at the present time. This choice of in particular commissioned essays brings jointly top students and critics to outline the yankee Modernist canon, delivering more than a few views necessary to all these drawn to this attention-grabbing poetry.

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24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 45 These quotations are taken from, respectively, 'Art Notes', The New Age (20 June 1918) and 'Art and Luxury', The New Age (20 February 1920). ), Ezra Pound and the Visual Arts (New York: New Directions, 1980) pp. 61, 136-7. Reprinted in Ezra Pound and the Visual Arts, p. 198. D. D. ), The Letters of Ezra Pound (London: Faber and Faber, 1950) p. 248. See Ian F. A. ), Ezra Pound. S. Press, 1978) pp. 89-115, 155-164. The text of Hugh Selwyn Mauberley I am using is that given in Ezra Pound, Collected Shorter Poems (London: Faber and Faber, 1967).

12. 13. 14. My quotations are taken from the Library of America edition of Pierre (Cambridge: Cambridge University Press, 1984) pp. 329,330,332. See Ian F. A. Bell, 'A Mere Surface: Wyndham Lewis, Henry James and the "Latitude" of Hugh Sellvyn Mauberley', Paideuma, xv (Fall and Winter 1986) pp. 53-71. Henry Adams, The Education of Henry Adams (Boston and New York: Houghton Mifflin, 1918) pp. ix-x. Henry James, A Small Boy and Others (London: Macmillan, 1913) p. 73. The best recent discussion of these changes in the context of nineteenth-century America is Karen Halttunen, Confidence Men and Painted Women: A Study of Middle-Class Culture in America, 1830-1870 (New Haven and London: Yale University Press, 1982).

D. ), The Selected Letters of Ezra Pound 1907-1941 (London: Faber, 1971) p. 213. T. S. ), Literary Essays of Ezra Pound (London: Faber, 1968) p. 5. Barbara Guest, Herself Defined: The Poet H. D. and her World (London: Collins, 1985) p. 42. 'Goblins and Pagodas', Tlze Egoist, 3 (1916) pp. 183, 184. The allusion in the quotation is to John 3: viii. J. B. Harmer, Victory in Limbo: A History of Imagism, 1908-1917 (London: Seeker & Warburg, 1975) p. 62. : Modern Critical Views (New York: Chelsea House, 1989) p.

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