The author considers seven poets: Newbolt, Masefield, Hardy Thomas, Housman, Davidson, and Brooke, and argues that their work deserves more serious critical attention than it has received. He analyzes a number of individual poems and isolates certain common concerns.

A History of Modernist Poetry examines innovative anglophone poetries from decadence to the post-war period. The first of its three parts considers formal and contextual issues, including myth, politics, gender, and race, while the second and third parts discuss a wide range of individual poets, including Ezra Pound, T.S. Eliot, W.B. Yeats, Mina Loy, Gertrude Stein, Wallace Stevens, William Carlos Williams, and Marianne Moore, as well as key movements such as Imagism, Objectivism, and the Harlem Renaissance. This book also addresses the impact of both World Wars on experimental poetries and the crucial role of magazines in disseminating and proselytizing on behalf of poetic modernism. The collection concludes with a wide-ranging discussion of the inheritance of modernism in recent writing on both sides of the Atlantic.

This book embraces an era of enormous creative variety--the formative period during which the Romantic traditions of the past were abandoned or transformed and a major new literature created. More than a hundred poets are treated in this volume, and many more are noticed in passing.

Presents a comprehensive A to Z reference with approximately 450 entries providing facts about contemporary British poets, including their major works of poetry, concepts and movements.

The Handbook ranges widely and in depth across 20th-century war poetry, incorporating detailed discussions of some of the key poets of the period. It is an essential resource for scholars of particular poets and for those interested in wider debates. Contributors include some of the most important international poetry critics of our time.

In the twentieth century more people spoke English and more people wrote poetry than in the whole of previous history, and this Companion strives to make sense of this crowded poetical era. The original contributions by leading international scholars and practising poets were written as the contributors adjusted to the idea that the possibilities of twentieth-century poetry were exhausted and finite. However, the volume also looks forward to the poetry and readings that the new century will bring. The Companion embraces the extraordinary development of poetry over the century in twenty English-speaking countries; a century which began with a bipolar transatlantic connection in modernism and ended with the decentred heterogeneity of post-colonialism. Representation of the 'canonical' and the 'marginal' is therefore balanced, including the full integration of women poets and feminist approaches and the in-depth treatment of post-colonial poets from various national traditions. Discussion of context, intertextualities and formal approaches illustrates the increasing self-consciousness and self-reflexivity of the period, whilst a 'Readings' section offers new readings of key selected texts. The volume as a whole offers critical and contextual coverage of the full range of English-language poetry in the last century.

John Gower's works examined as part of a tradition of "official" writings on behalf of the Crown. John Gower has been criticised for composing verse propaganda for the English state, in support of the regime of Henry IV, at the end of his distinguished career. However, as the author of this book shows, using evidence from Gower's English, French and Latin poems alongside contemporary state papers, pamphlet-literature, and other historical prose, Gower was not the only medieval writer to be so employed in serving a monarchy's goals. Professor Carlson also argues that Gower's late poetry is the apotheosis of the fourteenth-century tradition of state-official writing which lay at the origin of the literary Renaissance in Ricardian and Lancastrian England. David Carlsonis Professor in the Department of English, University of Ottawa.

This title establishes the radical currents of thought shaping Renaissance poetry: civic humanism and apocalyptic Protestantism. The author shows how Elizabethan poets like Sidney and Spenser, often seen as conservative monarchists, responded powerfully if sometimes ambivalently to radical ideas.