By Nigel Alderman, C. D. Blanton
This quantity introduces scholars to crucial figures, pursuits and traits in post-war British and Irish poetry.
- An ancient assessment and important advent to the poetry released in Britain and eire during the last half-century
- Introduces scholars to figures together with Philip Larkin, Ted Hughes, Seamus Heaney, and Andrew Motion
- Takes an integrative method, emphasizing the complicated negotiations among the British and Irish poetic traditions, and pulling jointly competing developments and positions
- Written by means of critics from Britain, eire, and the United States
- Includes feedback for extra interpreting and a chronology, detailing an important writers, volumes and events
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Additional info for A Concise Companion to Postwar British and Irish Poetry
Given the density of those pasts and the multiplicity of those futures, we have chosen to impose no single narrative arc on what follows. Instead, we have attempted to account for some of the movements, moments, and tendencies that have shaped postwar poetry across Britain and Ireland. Some chapters therefore concentrate on significant generations or chronological turning points, moments that either proposed or challenged significant orthodoxies. Others move geographically, considering sites and particular histories that have intersected or even redirected the larger course of recent work.
Eliot 1996: 86) 1 Eliot’s antipathy to the premises and methods of modern Liberalism, the majority power in literary and political London in 1914, may be thought of as one source of his shutting down poetically when he arrives in Britain in August 1914. 13). qxd 09/02/2009 16:46 Page 24 Vincent Sherry Eliot encloses echoes of whole words within others – “gout” in “dégoute,” “d’égout,” – and reiterates similar phonetic formations across differing phrases – “fait des vers” in “faits divers” – to emphasize and consolidate the material sound of these words.
The verbal art special to Propertius features an interplay between an archly rationalist syntax and a wittily impenetrable vocabulary. On one side, the persona of the classics translator demonstrates a declarative knowiness about the materia poetica, here the site of ancient history and myth. Moving easily through this range of reference, Pound’s speaker builds a progression of apparently factual statements as logical, common-sensible propositions of obvious knowledge. On the other side, however, Pound’s reader frequently experiences allusions to chronicle legend and literary fable that are fetched from the depths of Mediterranean antiquity and featured, it seems, for their very unfathomability.