By Neil Roberts
Compiled and edited through Neil Roberts (Professor of English Literature at Sheffield University), A significant other To Twentieth-Century Poetry is a magnificent anthology of forty-eight scholarly essays drawn from a wide selection of authors and academicians learning the improvement of poetry in twenty English-speaking international locations over the past century. From context of the poets and their paintings; to the repercussions of the post-colonial age; to the expanding voice of girl poets; in addition to an total tendency in the direction of self-consciousness and self-reflection; A better half To Twentieth-Century Poetry deals proficient and informative insights gleaned from as frequent and various a bunch of individuals because the authors of the memorable poems themselves.
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Extra resources for A companion to twentieth-century poetry
Though tortuously suppressed in Eliot this was openly displayed in Hulme’s masculinist cult of violence and to different degrees in Hulme’s sometime rivals, Wyndham Lewis – ever the cultural pugilist – and Pound, in his more swaggering and opinionated moods. Geoff Ward speculates that this peculiarly macho posturing of the ‘Men of 1914’ had its source in the trial of Oscar Wilde in 1895. Before the trial, he argues, ‘the posturings of the Decadents were tolerable eccentricities, fodder for the cartoonists of Punch’.
London: Faber and Faber. Eliot, T. S. (1975). ), Selected Prose of T. S. Eliot, pp. 175–8. London: Faber and Faber. Fletcher, John Gould (1937). Life Is My Song: The Autobiography of John Gould Fletcher. New York: Farrar and Rinehart. Gage, John (1983). In the Arresting Eye: The Rhetoric of Imagism. Baton Rouge: Louisiana State University Press. Kenner, Hugh (1971). The Pound Era. Berkeley: University of California Press. Kenner, Hugh (1988). A Sinking Island: The Modern English Writers. London: Barrie and Jenkins.
Criticism has been happy to couple Pound and Eliot together as canonic modernists. Certainly Eliot shared Pound’s sense of the modern poet’s relation to a revised, living tradition and to the place within it of, for example, Dante, and, among late nineteenth-century French poets, Laforgue, Corbière and Gautier. Beyond this the traditions (in the plural, as we should think of them) which these modernists brought into being ran off in different directions. This complex relation between Anglo-American modernism and its precursors – as well as its contemporaries – in which different sides wrestled over notions of a received or rebuilt tradition, is suggestive at the same time of a broader, equally complex relationship to modernity.
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