By Stephen Fredman
This Concise significant other provides readers a wealthy experience of the way the poetry produced within the usa through the 20th century is hooked up to the country’s highbrow existence extra greatly. is helping readers to completely savour the poetry of the interval by way of tracing its historic and cultural contexts. Written via well-liked experts within the box. locations the poetry of the interval inside contexts resembling: struggle; feminism and the feminine poet; poetries of immigration and migration; communism and anti-communism; philosophy and conception. every one bankruptcy levels around the complete century, evaluating poets from one a part of the century to these of one other. New syntheses make the quantity of curiosity to students in addition to scholars and common readers.
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Extra info for A Concise Companion to Twentieth-Century American Poetry (Concise Companions to Literature and Culture)
Ginsberg 1995: 131–2). Ginsberg’s “howl” is against not only these literal spaces of miserable conﬁnement, but 13 Peter Nicholls against a closed language which can be broken open only by something as primitive and inchoate as a howl. And by closure here I mean exactly what Roland Barthes meant when he wrote of totalitarianism as a world in which: deﬁnition, that is to say the separation between Good and Evil, becomes the sole content of all language, there are no more words without values attached to them, so that ﬁnally the function of writing is to cut out one stage of a process: there is no more lapse of time between naming and judging, and the closed character of language is perfected, since in the last analysis it is a value which is given as explanation of another value.
44). Stein draws a distinction between World War I, which, she says, belongs to the nineteenth century and has a “legendary” aspect, and World War II which is not “legendary” at all (p. 20; see also Rose 1993: 16–18). Her way of then projecting this as a parallel distinction between conventional literary realism and modernist “strangeness” might strike us initially as perverse. The point, though, is that Stein sees war by writing about it, which is very different from seeing war and then writing about it.
There is, he continues: Insanity in high places, If it is true we must do these things We must cut our throats (Oppen 2002: 173) The directness of these lines differs tellingly from the contorted passage about burial. In contrast to the madness of the Vietnam war in which, Oppen says, “the casual will/ Is atrocious” (p. 173), World War II remains cryptic, at once a so-called “good war” in which, as it happened, Oppen had chosen to ﬁght, and the source of a trauma, personal and cultural, which now haunts the new conﬂict.
A Concise Companion to Twentieth-Century American Poetry (Concise Companions to Literature and Culture) by Stephen Fredman