DOCSLIB.ORG

Durham E-Theses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Durham E-Theses Durham E-Theses The aesthetics of history in the modern English long poem: David Jones's the anathemata. Basil bunting's briggatts, Georey Hill's Mercian hymns and Roy sher's a furnace Wootten, William George How to cite: Wootten, William George (1998) The aesthetics of history in the modern English long poem: David Jones's the anathemata. Basil bunting's briggatts, Georey Hill's Mercian hymns and Roy sher's a furnace, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4782/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 THE AESTHETICS OF HISTORY IN THE MODERN ENGLISH LONG POEM: DAVID JONES'S THE ANATHEMATA, BASDL BUNTING'S BRIGGFLATTS, GEOFFREY HILL'S MERCIAN HYMNS AND ROY FISHER'S A FURNACE William George Wootten Submitted for the degree of Ph.D. Department of English Studies University of Durham June 1998 The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. i 3 JAW 1999 The Aesthetics of History in the Modern English Long Poem: David Jones's The Anathemata, Basil Bunting's Brieeflatts, Geoffrey Hill's Mercian Hymns and Roy Fisher's A Furnace ABSTRACT David Jones, Basil Bunting, Geoffrey Hill and Roy Fisher are major poets in the modernist tradition who have written long poems which incorporate and interrogate history. The Anathemata. Briggflatts. Mercian Hvmns and A Furnace all explore the poet's sense of identity and his relationship to the present by attempting to give order to the past. This thesis examines how this attempt, and the various ideologies, philosophies and aesthetics that have accompanied it, are given form in these poems. It relates detailed readings of the poems to their intellectual and historical contexts. The Introduction outlines the typical features of die modernist long poem and suggests that they are peculiarly suited to expressions of both history and nationalism. Chapter I is a critical assessment of the aesthetics of Wilhelm Worringer and Herbert Read. Chapter II shows how David Jones endeavours to give form to the various histories of The Anathemata by using these aesthetics in conjunction with the historical philosophy of Oswald Spengler, the analysis of myth and ritual of J.G. Frazer and Jessie Weston, and his own nationalism and Roman Catholicism. This chapter accounts for the poem's obscurity by investigating its conflicting ideas of form, and locating it in the context of the Second World War. Chapter III, on Briggflatts. argues that Basil Bunting combines the ideas of Worringer and Read with an autobiographical narrative and a structure derived from music, in order to give the poem a form mirroring both his melancholia and the harmony he perceived in nature. It contends that the histories in the poem are best read as relating to autobiography and not Northumbrian nationalism. Chapter IV shows how Geoffrey Hill refashions the English long poem in a manner close to that of the lyric sequence. It explores notions of empathy and historical continuity in Mercian Hvmns. and analyses Hill's ambiguous evocation of his Anglo-Saxon roots in the context of contemporary political discourse. Chapter V discusses the ways in which Roy Fisher enacts different apprehensions of time and history in the dialectical structure of A Furnace, and relates them to the thought of John Cowper Powys. The Conclusion draws together the recurrent themes of the thesis: change and continuity, history and identity, time and timelessness. CONTENTS i. Acknowledgements 1. Introduction 12. Worringer, Read and the Aesthetics of Northern Line 27. The Interlace of History: David Jones's The Anathemata 95. Briggflatts 156. Double Lyric as Long Poem: Geoffrey Hill's Mercian Hymns 200. A Furnace 297. Conclusion 300. Bibliography ACKNOWLEDGEMENTS I would like to give especial thanks to Gareth Reeves who supervised this thesis with dedication, friendliness and patience. Thanks are also due to Diana Collecott and Anthony Mellors for supervising the first year of research and to Richard Caddel who has been a constant source of enlightening conversation. I am grateful to Dick Davis for taking the time to answer my enquiries on Persian poetry and to Roy Fisher who was helpful and encouraging in answering questions about his own work. Fiona Price kindly took the time to proof-read this thesis. Simon Cattle, Brendan MacGurk and Tanja Rahneburg were unfailingly hospitable during my stays in Edinburgh. The Basil Bunting Poetry Centre and Durham University helped fund this research. Staff at The National Library of Scotland, The National Poetry Library and Durham University Library, especially The Basil Bunting Archive, were unfailingly courteous and efficient. Lastly, I should like to thank my family, particularly Richard Wootten, for their continued support during the writing of this thesis. INTRODUCTION David Jones's The Anathemata. Basil Bunting's Briggflatts. Geoffrey Hill's Mercian Hymns and Roy Fisher's A Furnace are four of the most ambitious poetic works by English writers since the Second World War.1 They belong in the modernist tradition of the long poem and endeavour to give form to various histories. Though the similarities between them have often been noted in passing by critics, they have never been studied in a single work which would make clear just what the similarities and differences between them are. Whilst the modernist long poem in America has received a certain amount of attention, there has never been a study of either the British or English tradition of the modernist long poem. This thesis will attempt to repair this oversight by making detailed studies of four works that may be seen, despite their large debt to a cosmopolitan, and especially American, modernism, to form a particular tradition. This tradition is not an exclusive one and the individual long poems that form it also belong to other traditions. A Furnace, for example, could usefully be studied as a partial heir to William Carlos Williams's Paterson. But it is this tradition of a certain type of modern long poem which has developed in England, rather than the correspondences between these works and other modernist long poems, that will be the main focus of this thesis. The poems in this study are accounts or stocktakings of a poet's inheritance, a shoring up of what is valuable and a mourning for, or retrieval of, what has been lost. They all reflect upon the poet's roots, his local and family history and wider histories of race, nation or humanity. This stocktaking may also include the poet's own life: Briggflatts, Mercian Hymns and A Furnace all contain substantial elements of autobiography. All four poems in this study, partly as a result of such concerns, also reflect on, and incorporate into their form, particular ideas of time and temporal and historical processes. They also examine what may be thought of as either durable or timeless and so resistant to such processes. They reflect on the nature of the creative act, not just in poetry but in the arts in general, and in turn reflect upon their own status. These poems, then, have important antecedents 1 By no means all the writers in this study would consider themselves chiefly English. David Jones thought of himself as British, and is generally regarded as being Anglo-Welsh. Basil Bunting thought of himself principally as a Northumbrian. Nevertheless, the writers in this study were born and raised in England. This study does not claim to be representative of the long poem throughout the British Isles, though it will, at times, make points about British Modernism when they are tenable. 1 with similar ambitions. In the modernist tradition, perhaps the most notable is T.S. Eliot's Four Quartets. But earlier works, especially William Wordsworth's The Prelude, have many of these aims in common, and this thesis will attempt to show how the modernist long poem in England has, at times, had much in common with Romanticism. Poetry published in England since the last war is not generally labelled modernist. This is perhaps to do with the common view which sees modernism as not so much an ongoing tradition as an era or generation. In English literature this is typically seen as what Hugh Kenner has termed The Pound Era, or more narrowly still, a movement that started around the beginning of the century and which, in poetry at least, was effectively over in England by the second half of the nineteen-thirties. Such a view is obviously mistaken, not only because of the continued activity of the first generation of modernist writers, but also because, at least as far as the modernist long poem is concerned, the major achievements of modernism by native English poets were not written until later in this century. In Scotland, Hugh MacDiarmid had written A Drunk Man Looks at a Thistle as early as 1926.
Load more

Recommended publications
  • City & County of Swansea Cabinet
    CITY & COUNTY OF SWANSEA CABINET At: Committee Room 1, Civic Centre, Swansea. On: Thursday, 4 October, 2012 Time: 5.00 pm AGENDA 1. Apologies for Absence. 2. To receive Disclosures of Personal and Prejudicial Interests. 1 3. To approve and sign as a correct record the Minutes of the following Meetings:- a) Cabinet held on 6 September 2012. 2 - 9 b) Special Cabinet held on 18 September 2012. 10 - 12 4. Leaders Report. 5. Public Question Time. 6. Councillor Question Time. 7. Reports from Scrutiny Boards - None. 8. Report(s) within the Citizen, Community Engagement & Democracy Cabinet Member Portfolio: a) Corporate Complaints Annual Report 2011-12. (For Information) 13 - 21 b) Adult & Directorate Services Complaints Annual Report 2011-12. (For 22 - 35 Information) c) Child & Family Services Complaints Annual Report 2011-12. (For 36 - 48 Information) d) Regulation of Investigatory Powers (RIPA) Annual Report 2011-12. 49 - 53 (For Information) e) Freedom of Information (FOI) Annual Report 2011-12. (For 54 - 58 Information) 9. Report(s) within the Finance & Resources Cabinet Member Portfolio. a) Delivering Results that Matter - Annual Review of Performance 2011- 59 - 116 12. b) Revenue Outturn 2011/12 – Housing Revenue Account. 117 - 120 10. Report(s) within the Learning & Skills Cabinet Member Portfolio. a) Flying Start Capital Programme Expansion 2012 - 2015. 121 - 130 b) Response of the Cabinet Member - Review of Teaching Assistants. 131 - 134 c) Framework For The Supply Of Groceries, Provisions And Frozen 135 - 138 Foods. 11. Report(s) within the Learning & Skills and Place Cabinet Member Portfolio's. a) Regional School Transport Policy. 139 - 144 12.
    [Show full text]
  • The Swansea Branch Chronicle 9
    Issue 9 Summer 2015 The 18th century Georgians Contents Man is born free, yet everywhere he is in fetters. Jean-Jaques Rousseau 1762 3 From the Editor 4 From the Chairman 5 Hymn Writer Supreme Dr R. Brinley Jones 6 Venice, the Biennale and Wales Dr John Law 7 18th Century Underwear Sweet disorder in her dress, kindles in Jean Webber Clothes a wantonness. 9 Whigs and wigs Robert Herrick 12 Howell Harris David James 15 Branch news 16 British Government’s Response to French Revolution Elizabeth Sparrow 18 Reviews 20 Joseph Tregellis Price Jeffrey L Griffiths Oil painting by Nicolas Largilliere 22 School’s Essay Competition Richard Lewis 24 Programme of Events Madame de Pompadour From the Editor Margaret McCloy The 18th century what a great time to live in London… that is, if you were wealthy and a gentleman. Mornings could be spent in the fashionable new coffee bars talking to the intelligentsia discussing the new whether a new Gothic tale by Horace Walpole, The architectural studies by William Kent, based on Italian Times or Dr Johnson’s, A Dictionary of the English Palladian houses,seen by Lord Burlington. In Italy. Or Language. Quite a few hours of reading. marvel at Sheraton’s latest designs in elegant Evenings were for dining and listening to music, furniture. Maybe make a trip to New Bond Street and perhaps the latest works from Mozart and Haydn.With enjoy an afternoon drink in the King’s Arms discussing luck, you may be invited to Handel’s house in Brook the theatre in the company of artists and actors.
    [Show full text]
  • Introduction
    Notes Introduction 1. For more on the Romanticism and Classicism debate in the maga- zines, see David Goldie’s Critical Difference: T. S. Eliot and John Middleton Murry in English Literary Criticism, 1918–1929 (69– 127). Harding’s discussion in his book on Eliot’s Criterion of the same debate is also worth reviewing, especially his chapter on Murry’s The Adelphi; see 25–43. 2. Esty suggests that the “relativization of England as one culture among many in the face of imperial contraction seems to have entailed a relativization of literature as one aspect of culture . [as] the late modernist generation absorbed the potential energy of a contracting British state and converted it into the language not of aesthetic decline but of cultural revival” (8). In a similar fashion, despite Jason Harding’s claim that Eliot’s periodical had a “self-appointed role as a guardian of European civilization,” his extensive study of the magazine, The “Criterion”: Cultural Politics and Periodical Networks in Inter-War Britain, as the title indicates, takes Criterion’s “networks” to exist exclusively within Britain (6). 3. See Suzanne W. Churchill, The Little Magazine Others and the Renovation of Modern American Poetry; Eric White, Transat- lantic Avant-Gardes: Little Magazines and Localist Modernism; Adam McKible, The Space and Place of Modernism: The Russian Revolution, Little Magazines, and New York; Mark Morrisson, The Public Face of Modernism: Little Magazines, Audience, and Reception, 1905–1920; Faith Binckes, Modernism, Magazines, and the Avant-Garde: Reading “Rhythm,” 1910–1914. 4. Thompson writes, “Making, because it is a study in an active process, which owes as much to agency as to conditioning.
    [Show full text]
  • Tarlo Tucker.Pdf
    This is a repository copy of 'Off path, counter path’: contemporary walking collaborations in landscape, art and poetry. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/109131/ Version: Accepted Version Article: Tarlo, H and Tucker, J (2017) 'Off path, counter path’: contemporary walking collaborations in landscape, art and poetry. Critical Survey, 29 (1). pp. 105-132. ISSN 0011-1570 https://doi.org/10.3167/cs.2017.290107 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Harriet Tarlo and Judith Tucker ‘Off path, counter path’: contemporary walking collaborations in landscape, art and poetry Our title reflects our tendency as walkers and collaborators to wander off the established path through a series of negotiations and diversions. In this jointly-authored essay by a poet and an artist, we ask whether and how this companionable and artistic process might also be counter- cultural, as many anecdotal and theoretical enframings of walking practice throughout the centuries have suggested.
    [Show full text]
  • Were Celtic Identities Constructed by Archaeologists..?
    Were Celtic identities constructed by archaeologists..? Tacitus (1970:62), an eye witness to the Pre-Roman Britons, wrote a non-judgmental analysis of the pre-historic inhabitants saying “it seems likely that Gauls settled in the island lying so close to their shores” and that the peoples had similar language, religious beliefs and courage. In 1705 Abbé Pezron began the construction of Celtic identity by reasoning that Celts spoke Celtic and that Edward Lhuyd added to this by assuming that the Welsh, Scots and Irish were Celtic (Collis 2006:12). James (1999:47-49) added that Lhuyd was a Welsh patriot with a political addenda for this proposal and that Lhuyd’s ideas became accepted “as established fact … with remarkable speed” and ‘Celtic’ was used to define ancient monuments and material remains. Morse (2005:9) explains that national identity of the British Isles was not a new topic and, for example, works by Geoffrey of Monmouth (c.1135), John Major (1535) and George Buchanan (1582) – under the patronage of Kings and Popes - had presented different lineages for political ends linking their identity to Trojans, Druids, and Gallia Celtica. In France, supporting a growing nationalism, interest in Celtic speaking people and their achievements and, similar to England, resulted in “fanciful speculation” (Trigger 2008:89). Napoleon III, during the 1860s, to form a national culture to unite France, financially supported excavations of a Celtic town at Alésia which revealed a resemblance to the La Tène culture. During 1985, over one-hundred years later, on a nearby ancient hilltop at Bibracte President Mitterrand launched an appeal for national unity (Dietler 1994:584) claiming that this was were the “first act of our history took place”.
    [Show full text]
  • 165Richard.Pdf
    165 165 c2001 Richard Caddel Basil Basil Bunting : An Introduction to to a Northern Modernist Poet : The Interweaving Voices of Oppositional Poetry Richard Richard Caddel I'd I'd like to thank the Institute of Oriental and Occidental Studies for inviting me to give this this presentation, and for their generosity in sustaining me throughout this fellowship. I have have to say that I feel a little intimidated by my task here, which is to present the work of of a poet who is still far from well known in his own country, and who many regard as not not an easy poet (is there such a thing?) in an environment to which both he and I are foreign. foreign. This is my first visit to your country, and Bunting, though he travelled widely throughout throughout his life, never came here. That's a pity, because early in his poetic career he made what I consider to be a very effective English poem out of the Japanese prose classic, classic, Kamo no Chomei's Hojoki (albeit from an Italian tranlation, rather than the original) original) and I think he had the temperament to have enjoyed himself greatly here. I'm I'm going to present him, as much as possible, in his own words, often using recordings of him reading. He read well, and his poetry has a direct physical appeal which makes my task task of presenting it a pleasure, and I hope this approach will be useful for you as well. But first a few introductory words will be necessary.
    [Show full text]
  • Modernist Poetry
    GRAAT On-Line issue #8 August 2010 The unquiet boundary, or the footnote Auto-exegetic modes in (neo-)modernist poetry Lucie Boukalova University of Northern Iowa “It is generally supposed that where there is no QUOTATION, there will be found most originality. Our writers usually furnish their pages rapidly with the productions of their own soil: they run up a quickset hedge, or plant a poplar, and get trees and hedges of this fashion much faster than the former landlords procured their timber. The greater part of our writers, in consequence, have become so original, that no one cares to imitate them; and those who never quote, in return are seldom quoted!” Isaac Disraeli, Curiosities of Literature “I have been accused of wanting to make people read all the classics; which is not so. I have been accused of wishing to provide a „portable substitute for the British Museum,‟ which I would do, like a shot, were it possible. It isn‟t.” Ezra Pound, How to Read Clearly unhappy with the course of the scholarly treatment of his notes to The Waste Land, T.S. Eliot revisits the exegetical site three decades after the modernist annus mirabilis in “The Frontiers of Criticism” (1956). Even though he acknowledges that he is not wholly “guiltless of having led critics into temptation” by his annotation, and even though he regrets “having sent so many enquirers off on a wild goose chase,”1 the poet does not publicly condemn his previous method. Retracing and reinforcing the frontiers of a profitable critical enterprise, Eliot calls for a more immediate, and intuitive interaction between the poetic lines and their “paratext.”2 115 However, thus still defending the aesthetic value of his referential apparatus, Eliot seems to have lost faith in the continuity of such practice in the contemporary creative and critical climate.
    [Show full text]
  • Comedy, Appropriation, and the Sounds of One Hand Clapping1
    S A J _ 2019 _ 11 _ admission date 01 03 2019 polemical article approval date 01 07 2019 UDC 821.09-1 81'255.4 DOUBLETALKING THE HOMOPHONIC SUBLIME: COMEDY, APPROPRIATION, AND THE SOUNDS OF ONE HAND CLAPPING1 A B S T R A C T Homophonic translations create poems that foreground the sound of the original more than the lexical meaning. I begin by discussing the concept of “sound writing,” referencing Haroldo de Campos’s concept of “transcration,” Pound’s “transduction,” and the concept behind calques. I then consider my homophonic translation of Finnish poet Leevi Lehto follows and Ulises Carrión’s isophonic translation. After noting Basil Bunting idea that meaning is carried by sound more than lexical content, I discuss Khelbnikov’s approach to zaum (transense), and sound- alike works based on bird song and animal sounds. The essay then takes up several specific examples: David Melnick’s homophonic translation of Homer, Pierre Joris’s voice recognition translation of Magenetic Fields, and Jean Donneley’s version of Ponge. The essay concludes with a discussion of Caroline Bergvall’s Drift, her version of “The Seafarer” as well as her Chaucer transcreations. A central part of the essay references “homophonic” translation in popular culture, in particular the “doubletalking” of Sid Caesar,” the most popular TV comedian of the early 1950s. A discussion of his work in the context of American Jewish comedy is central to the lecture. But other more recent popular example of the homophonic are discussed with special reference to cultural appropriation. Charles Bernstein 285 University of Pennsylvania [email protected] key words 20th century poetry poetics translation homophonics sid caesar louis zukofsky ezra pound caroline bergvall david melnick yiddish esperanto appropriation S A J _ 2019 _ 11 _ Who am I? I am not a straight stonemason, Neither a shipbuilder, nor a roofer, I am a double-dealer, with a double soul, A friend of night, and a daymonger.
    [Show full text]
  • The Elusive Image
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title The elusive image Author(s) Waddell, John Publication Date 2009 Waddell, J. (2009). The elusive image. In G. Cooney et al Publication (eds.), Relics of old decency: archaeological studies in later Information prehistory: festschrift for Barry Raftery (pp. 341-349). Dublin: Wordwell. Publisher Wordwell Item record http://hdl.handle.net/10379/5342 Downloaded 2021-09-25T12:35:18Z Some rights reserved. For more information, please see the item record link above. The Elusive Image John Waddell In writing of the image of man in La Téne art, Paul Jacobsthal examined the peculiar and delusive blending of human faces and ornament that sometimes occurred on metalwork such as tores, girdle-hooks, rings and fibulae. He was struck by the fact that the Greeks might blend abstract or floral ornament with human faces but for them a spiral was always a spiral and a face always a face; it was always clear where one began and the other ended. Not so with the faces or masks in La Téne art. Jacobsthal (1941, 10; 1944, 18) wrote, ‘there is something fleeting and evanescent about these masks, which are often not even complete faces, only bits of a face. It is the mechanism of dreams where things have floating contours and pass into other things. One might call the style the Cheshire Style: the cat appears in the tree and often just the grin of the cat.’ This wry—and, indeed, slightly frivolous—allusion to Lewis Carroll’s famous disappearing cat who left just his smile behind has also left its mark in the study of this extraordinary art style.
    [Show full text]
  • Download the Conference Program
    A NOTE FROM THE HOST COMMITTEE For four days in November, Pasadena will serve as MSA’s base of operations. (We understand there’s some minor affair planned for the city on New Year’s Day, but we’re sure it pales in comparison.) Welcome to the joys of Southern California in the fall! None of this would have been possible without the generous help of our local collaborators in and around this lovely city, including the staffs at the Westin Pasadena and the Huntington Library, Art Collections, and Botanical Gardens. Our efforts have been guided along the way by the MSA Board. We’re particularly indebted to Treasurer Gayle Rogers, Program Committee Chair Lisi Schoenbach, and MSA President Stephen Ross. The seasoned advice from last year’s organizer, Carrie Preston, helped keep it all in perspective and Alex Christie, web-master extraordinaire, agreed once again to manage the medium for the MSA message (gratis). MSA 18 would never have happened without the help of our fearless assistant, April Anderson, the one who kept us on track so that fun could be had by all. So, here’s to the fun, however you define it, and to making MSA 18 a “conference to remember.” Kevin Dettmar & Eric Bulson, Yr Obt. Servants 1 A Message from the MSA President For this year’s conference we have taken special efforts to introduce streams within the program that are aimed at more fully integrating interdisciplinary approaches, and in line with the conference theme. “Dream Factories” focuses on topics such as surrealism, psychoanalysis, fashion, architecture, cinema and design; “California and the Cultures of Modernism” considers linguistic, cultural, and racial diversity.
    [Show full text]
  • 1 Roy Fisher's Mysticism a Thesis Submitted to the University Of
    Roy Fisher’s Mysticism A thesis submitted to the University of Manchester for the degree of PhD in the Faculty of Humanities 2011 Ian Pople Centre for New Writing, School of Arts, Histories and Cultures 1 Contents page Abstract 3 Declaration and Copyright Statement 4 List of Fisher’s works referred to in this thesis 5 Chapter 1: Introduction 5 Chapter 2: Fisher and Self 28 Chapter 3: Fisher and Other : Mystic Interactions 55 a. Mystic Latencies 55 b. Fisher’s Urban Other 60 c. The Mystical Abject 68 d. Fisher’s Uncanny Woman 76 Chapter 4: Mysticism and Fisher: A Furnace 85 Chapter 5: Conclusion 117 Poetry: 1. Kissing Gate 121 2. For this relief, much thanks 122 3. The Lace Wing 123 4. Berkhampstead 124 5. A Thousand Twangling Instruments 125 6. A Week of Running beside the Canal 126 7. ‘… As Dedicated Men’ 128 8. Handiwork of Light 129 i. At Church 129 ii. A Lofty House 129 iii. A View of Arnhem 130 iv. The Kiss 130 v. What the Car Park was Singing 131 9. Set Elements for John Brown – Isamu Noguchi 133 10. An Ordered Name 134 11. Angels of Anarchy 135 12. Effects 136 13. Those Who Stand Beside You After Hatzopoulos 137 14. Seven Answers 138 15. Owl 139 16. The Hierophant 140 17. Loaves and Fishes 141 18. Disposable Icon, the Reply 142 19. That Day 143 20. The Bleachers 144 21. The Shearer and the Lamb 145 22. The Aerial Orchids 153 23. William Blake at the Kardomah Café 160 24.
    [Show full text]
  • A History of Modernist Poetry Edited by Alex Davis and Lee M
    Cambridge University Press 978-1-107-03867-7 - A History of Modernist Poetry Edited by Alex Davis and Lee M. Jenkins Frontmatter More information A HISTORY OF MODERNIST POETRY A History of Modernist Poetry examines innovative anglophone poetries from decadence to the post-war period. The first of its three parts considers formal and contextual issues, including myth, politics, gender, and race, while the second and third parts discuss a wide range of individual poets, including Ezra Pound, T. S. Eliot, W. B. Yeats, Mina Loy, Gertrude Stein, Wallace Stevens, William Carlos Williams, and Marianne Moore, as well as key movements such as Imagism, Objectivism, and the Harlem Renaissance. This book also addresses the impact of both world wars on experimental poetries and the crucial role of magazines in disseminating and proselytising on behalf of poetic modernism. The collection con- cludes with a wide-ranging discussion of the inheritance of mod- ernism in recent writing on both sides of the Atlantic. alex davis is Professor of English at University College Cork, Ireland. He is the author of A Broken Line: Denis Devlin and Irish Poetic Modernism (2000) and many essays on anglophone poetry from decadence to the present day. He is co-editor, with Lee M. Jenkins, of Locations of Literary Modernism: Region and Nation in British and American Modernist Poetry (2000)andThe Cambridge Companion to Modernist Poetry (2007) and, with Patricia Coughlan, of Modernism and Ireland: The Poetry of the 1930s (1995). lee m. jenkins is Senior Lecturer in English at University College Cork, Ireland. She is the author of Wallace Stevens: Rage for Order (1999), The Language of Caribbean Poetry: Boundaries of Expression (2004), and The American Lawrence (2015).
    [Show full text]