By Neil Roberts
Compiled and edited by way of Neil Roberts (Professor of English Literature at Sheffield University), A better half To Twentieth-Century Poetry is a powerful anthology of forty-eight scholarly essays drawn from a large choice of authors and academicians learning the advance 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 lady poets; in addition to an total tendency in the direction of self-consciousness and self-reflection; A better half To Twentieth-Century Poetry bargains proficient and informative insights gleaned from as frequent and numerous a bunch of participants because the authors of the memorable poems themselves.
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Additional info for A companion to twentieth-century poetry
Robert Browning’s penchant in his use of the Modernist Poetry and its Precursors 27 dramatic monologue for ‘grotesque’ non-poetic diction and eccentric metres mimetic of what Walter Bagehot termed a ‘mind in difﬁculties’ (Faas, 1986, p. 21) were an example to Eliot and especially the early Pound. Above all, the dramatic monologue is distinguished by the ‘objective’ position of the poet (the term was Browning’s own), set apart from the speaker who unravels his/her own emotional life to a silent listener – in effect the reader, who is therefore drawn into the poem as doctor/analyst in a psychological case history.
The English poets and translators, F. S. Flint and Richard Aldington, threw in with the Americans, and Aldington consolidated the bonds even further by marrying H. D. The principal outlets for the writing that emerged from the movement were no less transatlantic than its personnel. Poems and manifestos appeared in London (in the Egoist and the New Age), New York (in Others) and Chicago (in Poetry, of which Pound became Foreign Editor). The heroic age of the international little magazine was getting under way, and a heady mixture of work by British, Irish and American authors might be found in almost any issue of the liveliest periodicals.
It is not our intention in this way to endorse the Anglo-American modernist canon (which has anyway never received both poets equally). Our concern is rather to return these poets to the transitional and symbiotic histories of verse and modernity. The effect of such an examination, introductory though it is, is rather to undermine than shore up their monumentalism, to unravel rather than ﬁx the text of modernism and to disperse rather than determine any supposed point of origin. Tradition and Modernity Allen Upward’s observation above recalls Thomas Carlyle’s essay ‘Signs of the Times’ which appeared as ‘early’ as 1829.
A companion to twentieth-century poetry by Neil Roberts