By Alex Davis, Lee M. Jenkins
A background of Modernist Poetry examines cutting edge anglophone poetries from decadence to the post-war interval. the 1st of its 3 components considers formal and contextual concerns, together with delusion, politics, gender, and race, whereas the second one and 3rd elements talk about a variety of person poets, together with Ezra Pound, T.S. Eliot, W.B. Yeats, Mina Loy, Gertrude Stein, Wallace Stevens, William Carlos Williams, and Marianne Moore, in addition to key hobbies similar to Imagism, Objectivism, and the Harlem Renaissance. This e-book additionally addresses the influence of either international Wars on experimental poetries and the an important position of magazines in disseminating and proselytizing on behalf of poetic modernism. the gathering concludes with a wide-ranging dialogue of the inheritance of modernism in contemporary writing on each side of the Atlantic.
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This chapter examines both representations of race in modernist poetry and, more broadly, how the explicit or implicit presence of racial others shaped modernist poetics in Pound’s and Moore’s ongoing romance with China and in the racial politics of the Harlem Renaissance. This part of the history concludes with Paige Reynolds’s chapter on modernism and periodical culture between the 1890s and the 1940s. Through a close examination of Poetry, Others, and Wheels, Reynolds investigates the broader parameters of the ‘little’ magazines which were synonymous with the dissemination of modernist poetry, and the relationship between print and performativity crucial to the circulation of modernist texts in these fora.
Gertrude Stein, ‘What Are Master-pieces and Why Are There So Few of Them’. The Bell magazine founded (until 1954). Charlie Chaplin, The Great Dictator. British evacuation at Dunkirk. Charles Madge, The Father Found. John Crowe Ransom, The New Criticism. Japan attacks Pearl Harbor; United States enters Second World War. J. F. Hendry, The Bombed Happiness. Patrick Kavanagh, The Great Hunger. Wallace Stevens, Parts of a World; Notes Toward a Supreme Fiction. José Garcia Villa, Have Come, Am Here. Hugh MacDiarmid, Lucky Poet.
20 While these recent developments are to be welcomed, one corollary has been an attenuated attention to what might be said to constitute a modernist style. It would be reductive, even absurd, to claim that there is a dominant or deﬁnitive mode of modernist poetics; indeed, modernism problematises stable generic taxonomies, frequently dithering boundaries between visual and verbal art, prose and poetry. 22 Both register the shock of the new in terms of content and push at the envelope of conventional form; nevertheless, there is a distinction to be made between, for example, the Edwardian verse of John Maseﬁeld and the early poetry of Mina Loy.
A History of Modernist Poetry by Alex Davis, Lee M. Jenkins