Reading a diverse range of poets - John Ashbery, Elizabeth Bishop, Amy Clampitt, Jorie Graham, Richard Howard, Randall Jarrell, Robert Lowell, Robert Pinsky, and Richard Wilbur - Longenbach reveals that American poets since mid-century have not so much disowned their modernist past as extended elements of modernism that other readers have suppressed or neglected to see.

This study of British and American poetry from the mid-1920s to the recent past, clarifies the complex interrelations of individuals, groups, and movements, and the contexts in which the poets worked.

In this book, James Longenbach develops a fresh approach to major American poetry after modernism. Rethinking the influential "breakthrough" narrative, the oft-told story of postmodern poets throwing off their modernist shackles in the 1950s, Longenbach offers a more nuanced perspective. Reading a diverse range of poets--John Ashbery, Elizabeth Bishop, Amy Clampitt, Jorie Graham, Richard Howard, Randall Jarrell, Robert Lowell, Robert Pinsky, and Richard Wilbur--Longenbach reveals that American poets since mid- century have not so much disowned their modernist past as extended elements of modernism that other readers have suppressed or neglected to see. In the process, Longenbach allows readers to experience the wide variety of poetries written in our time-- without asking us to choose between them.

Modernist poems are some of the twentieth-century's major cultural achievements, but they are also hard work to read. This wide-ranging introduction takes readers through modernism's most famous poems and some of its forgotten highlights to show why modernists thought difficulty and disorientation essential for poetry in the modern world. In-depth chapters on Pound, Eliot, Yeats and the American modernists outline how formal experiments take on the new world of mass media, democracies, total war and changing religious belief. Chapters on the avant-gardes and later modernism examine how their styles shift as they try to re-make the community of readers. Howarth explains in a clear and enjoyable way how to approach the forms, politics and cultural strategies of modernist poetry in English.

A COMPANION TO MODERNIST POETRY A Companion to Modernist Poetry A Companion to Modernist Poetry presents contemporary approaches to modernist poetry in a uniquely in-depth and accessible text. The first section of the volume reflects the attention to historical and cultural context that has been especially fruitful in recent scholarship. The second section focuses on various movements and groupings of poets, placing writers in literary history and indicating the currents and countercurrents whose interaction generated the category of modernism as it is now broadly conceived. The third section traces the arcs of twenty-one poets’ careers, illustrated by analyses of key works. The Companion thus offers breadth in its presentation of historical and literary contexts and depth in its attention to individual poets; it brings recent scholarship to bear on the subject of modernist poetry while also providing guidance on poets who are historically important and who are likely to appear on syllabi and to attract critical interest for many years to come. Edited by two highly respected and notable critics in the field, A Companion to Modernist Poetry boasts a varied list of contributors who have produced an intense, focused study of modernist poetry.

This volume of fourteen essays explores Chinese poetic modernism in all its facets, from its origins in the 1920s through 21st century manifestations. Modernisms in the plural reflects the complexity of the ideas and forms which can be associated with this literary-historical term. The volume’s contributors take a variety of focus points, from literary groups such as “9 Leaves” or “Bamboo Hat,” to individuals such as modernist sonneteer Feng Zhi 冯至, or Taiwan experimentalist Xia Yu 夏宇 (Hsia Yü), and Hong Kong modernist Leung Ping-kwan 梁秉钧, to non-biographically oriented chapters concerning modernist language, poetry and visual art, among other issues. Collectively, the volume endeavors to present as complete a picture of modernist practice in Chinese poetry as possible.

The first comprehensive history of modern poetry in English from the 1890s to the 1920s, 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. By the end of the period covered, The Waste Land, Lawrence's Birds, Beasts and Flowers, Stevens' Harmonium, and Pound's Draft of XVI Cantos had been published, and the first post-Eliot generation of poets was beginning to emerge.More than a hundred poets are treated in this volume, and many more are noticed in passing. Mr. Perkins discusses each poet and type of poetry with keen critical appreciation. He traces opposed and evolving assumptions about poetry, and considers the effects on poetry of its changing audiences, of premises and procedures in literary criticism, of the publishing outlets poets could hope to use, and the interrelations of poetry with developments in the other arts--the novel, painting, film, music--as well as in social, political, and intellectual life. The poetry of the United States and that of the British Isles are seen in interplay rather than separately.This book is an important contribution to the understanding of modern literature. At the same time, it throws new light on the cultural history of both America and Britain in the twentieth century.

What if the religious themes and allusions in modernist poetry are not just metaphors? Following the religious turn in other disciplines, literary critics have emphasized how modernists like Woolf and Joyce were haunted by Christianity’s cultural traces despite their own lack of belief. In Poetry and Theology in the Modernist Period, Anthony Domestico takes a different tack, arguing that modern poets such as T. S. Eliot, W. H. Auden, and David Jones were interested not just in the aesthetic or social implications of religious experience but also in the philosophically rigorous, dogmatic vision put forward by contemporary theology. These poets took seriously the truth claims of Christian theology: for them, religion involved intellectual and emotional assent, doctrinal articulation, and ritual practice. Domestico reveals how an important strand of modern poetry actually understood itself in and through the central theological questions of the modernist era: What is transcendence, and how can we think and write about it? What is the sacramental act, and how does its wedding of the immanent and the transcendent inform the poetic act? How can we relate kairos (holy time) to chronos (clock time)? Seeking answers to these complex questions, Domestico examines both modernist institutions (the Criterion) and specific works of modern poetry (Eliot’s Four Quartets and Jones’s The Anathemata). The book also traces the contours of what it dubs “theological modernism”: a body of poetry that is both theological and modernist. In doing so, this book offers a new literary history of the modernist period, one that attends both to the material circulation of texts and to the broader intellectual currents of the time.

Combining both a historical and a critical approach toward the works of major British, American, French, German and Russian poets, this work surveys a century of high poetic achievement

This essential guide to modernist poetry enables readers to make sense of a literary movement often regarded as difficult and intimidating. Provides close examinations of key poems by T. S. Eliot, Ezra Pound, W. B. Yeats, and others Considers key techniques employed to orient and disorient the reader, such as diction, rhythm, and allusion Explores the ideological implications of subject matter and the literary forms and structures of modernist poetry Places modernist poetry in relation to its Victorian and Romantic predecessors Encourages readers to engage with the texts and make their own interpretations, moving away from the question of what the poem says in favour of considering the effect of the poem on its reader