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By ShaunAnne Tangney

The first assortment in 20 years of essays on Robinson Jeffers, one of many nice American poets of the 20 th century, this paintings signs the ocean swap in Jeffers scholarship, in addition to the expanding breadth and intensity of feedback of the literature of the yank West. The essays assembled the following spotlight concerns and theories serious to Jeffers reports, between them the development of ecocriticism, the reimagining of regionalism as position stories, the continued improvement of cultural stories and the recent historicism, the more and more poignant vector of technology and literature, the hot formalism, quite because it relates to narrative verse, and the obtrusive omission of feminist research in Jeffers scholarship. Jeffers has consistently appealed to a much wider viewers than many twentieth-century poets, and this publication will converse to that normal readership in addition to to students and students.

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Yet this “curious desire of knowing values and purpose and the causes of things” is odd and perhaps even absurd to a man like Jeffers, who is so painfully aware of 18 m Christopher Damien the universe’s intrinsic and inherent beauty. If we consider the conclusions of “Consciousness” to apply here, then the human mind “never discovered much” because its methods of discovery tend to be domineering. ” Grim indeed, but is Jeffers still attempting to arrest humanity in estrangement from its natural surroundings?

Consciousness” is a thought process that ultimately concludes with the human subject estranged from the nonhuman due to consciousness, but this is not the definitive interpretation of human consciousness for Jeffers. Some later poems are artifacts of Jeffers’s contemplating consciousness in different, more fluid ways. Indeed, perhaps reflecting his movement toward consciousness as integrated into the natural system, rigid form is not so laboriously employed, or deliberately trespassed, in these later poems to advance the concept of consciousness as excessive.

Although the turn to mythic register is to a certain extent at odds with the scientific register that preceded it, in doing so Jeffers does not lose the scientific quality of the poem. While, indeed as Underhill states, for modernists, myth “resists, and releases the subject from, the merely contingent realities of history, isolates him in a world, by definition ‘mythic’” (8), Jeffers does not wish to keep us in the mythic. He 12 m Christopher Damien uses poetic form to think sequentially about human consciousness in both a scientific and mythic way.

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