By Clive Bloom, Brian Docherty
Tracing its origins again to Walt Whitman, the Modernist culture in American poetry is pushed by means of a similar obstacle to interact with the realm in innovative phrases, encouraged through the idea that of democracy very important to the yankee dream. yet this custom isn't really restricted to some writers first and foremost of the century: as a substitute it's been a permanent strength, extending from coast to coast and of various colorations: Imagist, Objectivist, Beat. overseas 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 number of especially commissioned essays brings jointly top students and critics to outline the yank Modernist canon, delivering a number of views beneficial to all these attracted to this attention-grabbing poetry.
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Additional resources for American Poetry: The Modernist Ideal
173-5. : Southern Illinois University Press, 1968) p. 104. In his review of Palimpsest, Conrad Aiken recognised the originality of this novel, although with misgivings about its 'suggestion of recurring personalities and situations, or even reincarnations' (A Reviewer's ABC (London: W. H. Allen, 1961) p. 155. 's Palimpsest', Contemporary Literature, 27, iv (Winter, 1986) p. 558. , p. 155. , p. 227. , p. 72. , Collected Poems, p. 129. , Helen in Egypt (Manchester: Carcanet Press, 1985) p. 178. Richard Cavendish, The Black Arts (London: Pan, 1969) p.
Xvii. This line is adapted in 'Tribute' 42. Pearson, p. ix. ', Tri-Quarterly, 12 (1968) p. 97. , Notes on Thought and Vision (San Francisco: City Lights Books, 1982) p. 24. H. , Tribute to Freud, p. 102. Friedman, op. , pp. 203, 204. H. , The Gift, p. 94. C. ]. Jung, Psychology and Alchemy, trans. R. F. C. Hull (London: Routledge & Kegan Paul, 1953) p. 227. There are other points of overlap between the two writers. Both were members of the Society for Psychical Research; and H. 's notion of overconsciousness could be compared fruitfully with Jung's collective unconscious, which 'contains the whole spiritual heritage of mankind's evolution'.
This lesson is general to Pound's early poetics, taking its most important cues from the visual arts; from Whistler and Lewis, as the clearest examples, or from Kandinsky, whose Ueber das Geistige in der Kurst attracted Edward Wadsworth's attention in the first issue of Blast. ' 36 We are not merely at the level of poetic theory here but are concerned with Pound's intellectual and imaginative furniture: the falsity of any simple opposition between the human and the artifice of presentation is strikingly displayed by the language of Pound's early letters of courtship to Dorothy Shakespear, where the beloved female is addressed always in the vocabulary of myth and precious objects.
American Poetry: The Modernist Ideal by Clive Bloom, Brian Docherty