By Neil Roberts
Compiled and edited through Neil Roberts (Professor of English Literature at Sheffield University), A better half To Twentieth-Century Poetry is a magnificent anthology of forty-eight scholarly essays drawn from a wide selection of authors and academicians learning the improvement of poetry in twenty English-speaking international locations over the past century. From context of the poets and their paintings; to the repercussions of the post-colonial age; to the expanding voice of woman poets; in addition to an total tendency in the direction of self-consciousness and self-reflection; A better half To Twentieth-Century Poetry bargains expert and informative insights gleaned from as frequent and numerous a gaggle of individuals because the authors of the memorable poems themselves.
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Extra resources for A companion to twentieth-century poetry
Lawrence and New Mexico. Paris: Karl Orend. Schneidau, Herbert (1969). Ezra Pound: The Image and the Real. Baton Rouge: Louisiana State University Press. Wees, William (1972). Vorticism and the English Avant-Garde. Toronto: University of Toronto Press. Williams, William Carlos (1951). The Autobiography of William Carlos Williams. New York: Random House. Williams, William Carlos (1986). The Collected Poems of William Carlos Williams: Vol. I, 1909–1939, ed. A. Walton Litz and Christopher MacGowan.
By honing language’s presence to an absolute minimum, the Imagist poem sharpens our intuition of its expressive gaps and omissions (see Kenner, 1971, pp. 54–64). An Image, Pound explained, ‘presents an intellectual and emotional complex in an instant of time’ (Pound, 1954, p. 4). The London Imagists soon attracted imitators. Of these the most important was Amy Lowell of Boston, whose entrepreneurial energies, if not her poetic talent, rivalled those of Pound. Lowell visited London and won several of Pound’s colleagues to her banner, including Aldington and Fletcher.
Walt Whitman was also a source of inspiration for the Chicago modernists. When Harriet Monroe and Alice Corbin Henderson founded Poetry: A Magazine of Verse in 1912, they took their motto from Whitman’s ‘Notes Left Over’: ‘To have great poets there must be great audiences too’. Originally, Monroe and Henderson intended Poetry to be a democratic organ of the American Midwestern heartland. They favored Illinois poets such as Carl Sandburg, Edgar Lee Masters, Vachel Lindsay, and Canadian disciples of Whitman such as Bliss Carman.
A companion to twentieth-century poetry by Neil Roberts