By Stephen Fredman
This Concise significant other offers readers a wealthy experience of the way the poetry produced within the usa throughout the 20th century is attached to the country’s highbrow existence.
Written by means of admired experts within the box, the quantity is helping readers to understand the poetry through situating it inside overlapping ancient and cultural contexts, together with: struggle; feminism and the feminine poet; ''queer cities''; the impression of the recent York paintings global; African-American poetry and blues; poetries of immigration and migration; communism and anti-communism; and philosophy and conception. every one bankruptcy levels around the whole century, evaluating poets from one a part of the century to these of one other; and every one balances documentary insurance of context with sharp statement upon particular poems.
The better half types an amazing creation to twentieth-century American poetry for college kids, whereas its new syntheses will make it of curiosity to students besides.
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The narratives during this quantity make for a four-fold standpoint on literature: social, cultural, highbrow, and aesthetic; they represent a uncomplicated reassessment of yank prose-writing among 1820 and 1865. those narratives position the yank literature in a global context, whereas by no means wasting sight of its precise American features, even if colonial, provincial, or nationwide.
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Extra resources for A Concise Companion to Twentieth-Century American Poetry
In Stein’s case, though, the “seeing” is 16 Wars I Have Seen being done by someone apparently immersed in domestic routine – “Yesterday,” she says, “I went my usual twelve kilometres to get some bread and cake” (p. 137) – but someone who is also able to reﬂect on the ways in which the present war has “put an end an entire end to the nineteenth century” (p. 20). The faux-naïf simplicity of Stein’s style perfectly catches the unreality of wartime existence, with quirky observations undermining conventional wisdoms: so, for example, she tells us that America is “the oldest country in the world and the reason why was that she was the ﬁrst country to enter into the twentieth century” (p.
The point, though, is that Stein sees war by writing about it, which is very different from seeing war and then writing about it. It is not so much the local perceptions of wartime experience that matter – though these are acutely registered – but the way in which Stein’s language challenges at a minutely local level the logical machinations of war-speak. “Certainly,” she writes, “Certainly nobody no not anybody thinks that this war is a war to end war. No not anybody, no well no certainly nobody does think about it, they only think about this war ending, they cannot take on the future, no really not, certainly not as warless certainly not as a future.
The poets of World War II began to write of a phenomenon that has continued to occupy poets of the Vietnam War and subsequent wars, which involves another kind of distance – that of pilots in bombers or civilians in front of television screens, observing murderous destruction in a weird air of unreality. If war has applied one kind of nearly constant pressure to the language of American poetry, then British poetry can be seen as applying a similarly ubiquitous pressure on the self-conception of American poetry, for British poetry represents the tradition of English-language poetry to which US poets are always comparing themselves.
A Concise Companion to Twentieth-Century American Poetry by Stephen Fredman