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The Modernist Poetry of Anthony Burgess i INTERTEXTUAL POETICS: THE MODERNIST POETRY OF ANTHONY BURGESS ___________________________________ by Jonathan David Mann A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Department of English Manchester Metropolitan University September 2013 ii ABSTRACT Intertextual Poetics: The Modernist Poetry of Anthony Burgess This dissertation offers a series of exegetical readings of short and long poems by Anthony Burgess, with the aim of establishing the extent to which this poetry participates in Modernist and Postmodernist traditions. Beginning with Burgess's poems of the 1930s, the thesis discusses all of his major poetic works until 1993. Making extensive use of unpublished manuscript material, this is the first thesis to treat poetry and verse drama (including translations) as a discrete area of Burgess's literary production. As such, the thesis significantly extends the critical enquiries of previous scholars. Having identified specific poetic influences, the thesis addresses the poetic effects of the intertextual techniques used by Burgess. His poetry and writing about poetry are accounted for chronologically, and a selection of longer texts are discussed in detail. Influential Modernist poets are found to practice a range of techniques which Burgess parodies and pastiches with serious intent. Burgess is found to use Modernist techniques throughout his literary career, and to apprehend tradition through a conservative version of Modernism. Burgess's later poetry is shown to be self-reflexive and formalist in ways which are identifiably Postmodern. In texts such as Byrne, St. Winefred's Well and The End of Things, Burgess reassesses his relationship with Modernism, and intertextuality itself becomes a key preoccupation. Arguing the case for Burgess as a transitional late Modernist poet, the thesis charts the development of Burgess's engagement with Modernism and Postmodernism, and proposes that the two are interdependent rather than antithetical. iii CONTENTS Introduction . p. 1 1 From Storehouse to Marketplace . p. 23 2 Revolutionary Sonnets (1935 – 1949) . p. 73 3 Hunger for the Picaresque (1950 – 1979) . p. 120 4 Moving from One World to Another (1980 – 1993) . p. 191 5 Conclusion: The Thirties are His True Home . p. 291 Bibliography . p. 312 iv ACKNOWLEDGEMENTS My large family, most especially my parents (all of them), grandparents, and Uncle Roy supported, inspired, and encouraged me in immeasurable ways. My many brothers and wonderful nephew provided light relief and support in equal measure. James Mann first introduced me to the work of Anthony Burgess, and so is singled out for thanks. The late Liana Burgess provided generous personal support in the early stages, and I am thankful to have had the inspirational opportunity of her input. My Director of Studies and Director of the International Anthony Burgess Foundation, Professor Andrew Biswell, provided expert guidance, an excess of patience, generous access to manuscript material, and much-needed academic and stylistic rigour. He also assisted greatly with the AHRC awards process. My debt to him is profound and far exceeds this document. The AHRC funded this project: I owe much to Professor Berthold Schoene and the staff at MMU for helping me secure this. Will Carr, Paula Price, Dr Katherine Adamson, and Tina Green from the IABF patiently assisted in my various visits to the Engine House. The staff at the Harry Ransom Center, University of Texas at Austin, and Royal Shakespeare Company, Stratford assisted greatly with archive inspection. Yves Buelens gave me access to rare material from his collection in Brussels, and equally generous hospitality. Dr Alan Shockley, Dr Rob Spence, and Dr Elaine Ellery provided continuous friendship, solid advice, listening ears, and wonderful encouragement. Drs David and Christine Butler provided sound practical tips for tackling my last year of writing-up, and I am enormously grateful. My very good friends John Wooffindin, Rob Cole, Anthony Moorin, Dr Romano Giorgi, Brian O'Connell, Keith Perry, and Jim Green provided welcome diversion, laughter, debate, and support in equal measure during my research and writing. My much-missed friend Ryan Dillon inspired me to take necessary leaps of faith. My former teacher Graham Smith taught me from an early age to believe in myself. And, most of all, my partner Dr Katy Beavers provided unfailingly solid emotional and practical support in the years I spent writing this thesis (whilst also writing her own), and many more years before that. Words will never be enough. Material in Chapter One concerning 'Shakespeare and the Modern Writer' is adapted from my article 'A Poet to Escape From: The Pursuit and Evasion of Shakespeare in Will! And Other Works by Anthony Burgess' in Graham Woodroffe, ed., Marlowe, Shakespeare, Burgess: Anthony Burgess and his Elizabethan Affiliations (Presses de l'Université d'Angers, 2012), p.77-86 Parts of Chapters Two and Three relating to Burgess's poem 'The Music of the Spheres' are adapted from my article 'The Music of the Spheres', which appears in Marc Jeannin, ed., Anthony Burgess: Music in Literature, Literature in Music (Newcastle, Cambridge Scholars Press, 2009), pp.21-36 v '[. .] the drunkenness of things being various [. .]' 'Snow' by Louis McNeice 'Modern, not just contemporary.' They Wrote in English by Anthony Burgess 1 INTRODUCTION Summary This thesis finds that Burgess's poetry uses intertextual techniques which he himself associated with Modernist poets of the 1930s. It also finds that, from the 1980s onwards, Burgess uses increasingly self-reflexive intertextual techniques that can be considered Postmodernist. Burgess is thus presented as a transitional postwar poet continuing to use intertextual Modernist techniques in an age increasingly associated with Postmodernism. Intertextual is seen as a wide term, encompassing debates about the structure of language, literary influence, the definition of a text, and the relationship between reading and writing. The way Burgess generates poetic meaning through the combination of texts (his intertextual poetics) is found to evolve over time, and to encompass Modernism, late Modernism, and Postmodernism. Burgess is presented as both a reader and a writer of Modernist poetry. The poets and critics he read not only influenced his poetic style, but influenced his decision to use intertextual techniques. Extending beyond explorations of poetic influence, this thesis addresses the poetic effects of the intertextual techniques Burgess uses. Burgess, I argue, acknowledges the influence of Modernist poets including T. S. Eliot, G. M. Hopkins, Ezra Pound, William Empson, and W. H. Auden. His poetry and writing about poetry often deliberately echoes these poets via parody and pastiche, which – I argue – are the primary means by which Burgess reads literary tradition (and masters poetic form). Eliot, Pound, Empson, and Auden are found to practice Modernist intertextual poetic techniques which Burgess emulates and/or expands upon. Hopkins, whilst not a de-facto intertextual poet, is an important poet whose use of language influenced 2 Burgess greatly. Burgess is established as reading Hopkins under the critical influences of F. R. Leavis, Eliot, and Empson. Burgess's poetic technique is compared with these and other mainly British Modernist poets who, like him, are associated with the 1930s. Burgess's aesthetic is found to evolve by the 1980s and 1990s into a much more self- reflexive formalist poetry which explores and often stages the limits of its own conventions, in keeping with literary techniques practised at the time by poets such as Kenneth Koch, who has been described as Postmodern. Anthony Mellors, in his recent study Late Modernist Poetics (2005)1 argues that late Modernism 'can be said to refer to the continuation of modernist writing into the war years and until at least the end of the 1970s'2. Randall Stevenson, in The Last of England? (2000)3 likewise finds a number of poets who use Modernist techniques in the 1960s and 1970s, arguing that there is no clean distinction between Modernism and Postmodernism. This thesis extends this argument by presenting Burgess as a poet whose belated or late Modernism evolves beyond the 1970s into more identifiably Postmodern modes in the 1980s and 1990s. Accordingly, I have found that certain of Burgess's poems are Modernist, whereas others can be seen as Postmodernist, with a link between technique and dates of composition. Like Mellors, I provide evidence for the persistence of Modernist modes in postwar British poetry, since Burgess's poetry continually articulates an identifiably Modernist aesthetic. His poetry is presented as influenced by a relatively narrow Modernist approach to intertextuality and tradition, whilst also responding to the anti-Modernism of postwar Movement poetry. Moreover, I show how Burgess's later poetry, in exploring the limitations of form via an increasingly self-conscious, and increasingly ironic dialogue with past, uses techniques which are 1 Anthony Mellors, Late Modernist Poetics (Manchester University Press, 2005). 2 Mellors, p. 19. 3 Randall Stevenson, The Oxford English Literary History: Volume 12: The Last of England? (Oxford University Press, 2004). 3 associated with Postmodernism. As such, I contribute a new proposition concerning the relationship between Modernism and Postmodernism in Burgess, who is not listed in Mellors's list of 'poets
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