By Clive Bloom, Brian Docherty
Tracing its origins again to Walt Whitman, the Modernist culture in American poetry is pushed by way of a similar trouble to interact with the realm in innovative phrases, encouraged via the idea that of democracy very important to the yank dream. yet this custom isn't restricted to some writers first and foremost of the century: as a substitute it's been an everlasting strength, extending from coast to coast and of various colors: Imagist, Objectivist, Beat. overseas in flavour yet formed by means of the language and prerequisites of the US, this poetry maintains to talk to us this day. This selection of specifically commissioned essays brings jointly top students and critics to outline the yankee Modernist canon, delivering a variety of views worthy to all these attracted to this interesting poetry.
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D. D. ), The Selected Letters of Ezra Pound 1907-1941 (London: Faber, 1971) p. 213. T. S. ), Literary Essays of Ezra Pound (London: Faber, 1968) p. 5. Barbara Guest, Herself Defined: The Poet H. D. and her World (London: Collins, 1985) p. 42. 'Goblins and Pagodas', Tlze Egoist, 3 (1916) pp. 183, 184. The allusion in the quotation is to John 3: viii. J. B. Harmer, Victory in Limbo: A History of Imagism, 1908-1917 (London: Seeker & Warburg, 1975) p. 62. : Modern Critical Views (New York: Chelsea House, 1989) p.
Turn out the lights. So. We do not want loud electricity. We shall have a jewelled light. [.... ]Come, let us recline on Bagdad cushions and Teheran rugs ... and I shall scatter over the fantastic patterns jewels and stones. How softly they illumine the thick dark - these varicoloured glowflies, these streams of wine, emerald wine, and amethyst wine, and wine of topazes 'yellow as the eyes of tigers, and topazes pink as the eyes of wood pigeon, and green topazes that are as the eyes of cats'. 46 The language here not only mocks Wilde's, but it is also recognisable as the language of much of Pound's early poetry, particularly in its figuration of the female.
It is here that we witness an appreciation of that restructuring of the self through notions of surface newly sanctioned by consumption. Beerbohm chooses cosmetics rather than clothes as a focus presumably because of their greater intimacy with the body. He begins with an ironically serious flourish- 'Artifice must queen it once more in the town .... The old signs are here and the portents to warn the seer of life that we are ripe for a new epoch of artifice' 12 and claims that the prejudice against cosmetics is due to a no longer relevant understanding of surface: 32 American Poetry: The Modernist Ideal Perhaps it savours too much of reason to suggest that the prejudice was due to the tristful confusion man has made of soul and surface.
American Poetry: The Modernist Ideal by Clive Bloom, Brian Docherty