American and British Verse in the Twentieth Century: The Poetry that MattersWhy is it that almost no one can quote more than a few words from any American or British poet since (say) Robert Lowell or Philip Larkin? asks critic and poet Colin Falck. This volume is a critical history of 20th-century poetry as well as a study of what the author sees as the decline of that poetry during the century's last three decades. Basing his argument in the ideas of English and German romanticism, and developing further the claims of his Myth, Truth and Literature (1994), Colin Falck provides philosophically grounded discussions of such issues as the need for modern poetry to be a poetry of experience, the relationship between poetry and philosophy, the triumph of talk as modern poetry's prevailing diction, the effects on poetry of postmodernist self-consciousness, the centrality of despair to the modern lyric, the means by which modern poetry can validly engage with history, the place of nature and myth in the poetic imagination, and the revelatory power of rhythm, meter and the singing line. as Hardy, Yeats, Eliot and Stevens (and from some of their 19th-century precursors) all the way through to such acclaimed poets as Jorie Graham and Hugo Williams. His argument calls for a middlebrow revival in response to the highbrow deviation of modernism and the late-20th-century professionalization of poetry. It ends with an ambitious claim for poetry as an inscription of reality as part of an aesthetic fundamentalism which may be the true religion of the future. |
From inside the book
Results 1-3 of 87
Page 9
... experience but a near - obliteration of any stable or appraising lyrical center on whose pulses any such experience might be proved . Emily Dickinson , meanwhile - meeting Walt Whitman coming the other way , as it now almost seems , and ...
... experience but a near - obliteration of any stable or appraising lyrical center on whose pulses any such experience might be proved . Emily Dickinson , meanwhile - meeting Walt Whitman coming the other way , as it now almost seems , and ...
Page 20
... experience in a poem must be the experience of a poet , we have only to think of the novel : not all characters in novels are novelists . ) A sub - category of this third region is where the experience presented in the poem is an actual ...
... experience in a poem must be the experience of a poet , we have only to think of the novel : not all characters in novels are novelists . ) A sub - category of this third region is where the experience presented in the poem is an actual ...
Page 57
... experience and not just the experience of speaking or thinking aloud , and it is only very occasionally that the hesitations of thought or of speech are interesting enough to be worth making poetry out of . The ability to feel sure of ...
... experience and not just the experience of speaking or thinking aloud , and it is only very occasionally that the hesitations of thought or of speech are interesting enough to be worth making poetry out of . The ability to feel sure of ...
Common terms and phrases
actual allowed already American American poetry artists become believe British called character close comes common continues critical cultural early effect Eliot emotional English example experience experiencing expression eyes face fact feel forms Frost give given hand happen heart hope human ideas imaginative interest John Berryman kind language later Lawrence leave less letter lines literary literature lives London look Lowell lyric matter meanings meter mind move nature never ordinary ourselves Oxford particular perhaps philosophical poem's poems poet poet's poetic poetry possible present probably question reader reality reason religion religious rhythms Robert seems seen sense shows situation sometimes sound speaker spiritual talk tells things thought traditional true truth turn twentieth century universal usually verse Whitman whole Wordsworth writing written Yeats York