As a tradition modernism has fostered particularly polarised impulses - though the great modernist poems offer impressive models, modernist principles, epitomised in Ezra Pound's exhortation to 'make it new', encourage poets to reject the methods of their immediate predecessors. Re-making it New explores the impact of this polarised tradition on contemporary American poets by examining the careers of John Ashbery, Elizabeth Bishop, Robert Creeley and James Merrill. To demonstrate how these four have extended modernist ...
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As a tradition modernism has fostered particularly polarised impulses - though the great modernist poems offer impressive models, modernist principles, epitomised in Ezra Pound's exhortation to 'make it new', encourage poets to reject the methods of their immediate predecessors. Re-making it New explores the impact of this polarised tradition on contemporary American poets by examining the careers of John Ashbery, Elizabeth Bishop, Robert Creeley and James Merrill. To demonstrate how these four have extended modernist attitudes to create a distinctive post-modern art, each one's poetry is compared with that of a modernist who has been an important influence: Ashbery is discussed in conjunction with Wallace Stevens, Bishop with Marianne Moore, Creeley with William Carlos Williams and Merrill with W. H. Auden. Lynn Keller's book shows that contemporary poets have chosen not to reach for order as their modernist predecessors did; instead, they attempt to dissolve hierarchical distinction and polarising categories in a modest spirit of accommodation and acceptance.
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Add this copy of Re-Making It New: Contemporary American Poetry and the to cart. $1.16, good condition, Sold by Phatpocket Limited rated 4.0 out of 5 stars, ships from Waltham Abbey, ESSEX, UNITED KINGDOM, published 1988 by Cambridge University Press.
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Good. Ships from UK in 48 hours or less (usually same day). Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire, United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks, rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry.
Add this copy of Re-Making It New: Contemporary American Poetry and the to cart. $12.43, very good condition, Sold by ThriftBooks-Atlanta rated 5.0 out of 5 stars, ships from Austell, GA, UNITED STATES, published 1988 by Cambridge University Press.
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New. Trade paperback (US). Contains: Unspecified. Cambridge Studies in American Literature and Culture . Includes unspecified. Intended for professional and scholarly audience.
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New. Trade paperback (US). Contains: Unspecified. Cambridge Studies in American Literature and Culture . Includes unspecified. Intended for professional and scholarly audience.
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Minor rubbing, slight binding soil, VG. 23x15cm, x, 298 pp. Contents: Introduction: "Unless there is / a new mind there cannot be a new / line": The Modernist Inheritance; "Thinkers Without Final Thoughts": The Continuity Between Stevens & Ashberry; "We must, we must be moving on": Ashberry's Divergence from Stevens & Modernism; "Piercing glances into the life of things": The Continuity Between Moore & Bishop; "Resolved, dissolved...in that watery, dazzling dialectic": Bishop's Divergence from Moore & Modernism; "A small (or large) machine made of words": The Continuity Between Williams & Creeley; "Let / go, let go ot it": Creeley's Divergence from Williams & Modernism; "Those who love illusion / And know it": The Continuity Between Auden and Merrill; "I knew // That life was fiction in disguise": Merrill's Divergence from Auden & Modernism; Conclusion. "The possibility of free declamation anchored / To a dull refrain": The Postmodernist Estate.
