By By (author) Charles Altieri
Written by way of a number one critic, this invigorating creation to modernist American poetry conveys the thrill that may be generated via a cautious studying of modernist poems. Encourages readers to spot with the modernists’ experience of the innovative probabilities of their art.Embraces 4 generations of modernist American poets up via to the 1980s.Gives readers a feeling of the targets, the disillusionments and the continuities of modernist poetry.Includes shut readings of specific poems which convey how readers can use those works to connect to what matters them.
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Additional resources for The Art of Twentieth-Century American Poetry: Modernism and After (Blackwell Introductions to Literature)
P 120) 22 New Realism: Pound, Williams These poems seem slight vehicles on which to make signiﬁcant thematic claims. Yet they are slight vehicles that make a point of how their own slightness emerges – a promising beginning. The poems might even be said to question their culture’s habits for making judgments about slightness. Maybe what has seemed weightiness depends primarily on rhetorical traditions that purchase an aura of profundity at the cost of precision and subtlety. Perhaps we need new models of judgment that rely more on intricate blends of sensations and a precise ear for nuance than they do on grand gestures asserting their own signiﬁcance.
So he had to ﬁnd a way in which beauty 40 New Realism: Pound, Williams in poetry offered its own positive form of thinking and engaging the world. ”26 Such statements do not have the range or complexity of his friend Pound’s fascination with the authority of science as the foundation for a new realism. But Williams did have an intensity of intellectual focus Pound lacked. So the realism he arrived at concentrated on two elemental properties which were to make his work exemplary for a later generation of American poets.
The whole thing is an evolution. . Gradually you wish to communicate something less bare and ambiguous than ideas. You wish to communicate an idea and its modiﬁcations, an idea and a crowd of its effects, atmospheres, contradictions. , you get the Henry James novel. 14 Such communication would have to occur on two levels, each of which evades the classifying functions of the old science and the modes of interpretive judgment based on the old realism’s ﬁliations with that science. First there is the subtlety of the material, of how ideas in effect are permeated by possible atmospheres of effect and affect.