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First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Direct, colloquial, and allusive, these poems evoke the peasants and sailors of Brittany and the bohemians and prostitutes of Paris in a vivid, fast-paced language that transformed the Modernist, Symbolist, and Surrealist movements, and influenced Pound, Eliot and the poetry of both England and America. This parallel-text edition enables the reader to experience the poet's innovative wordplay firsthand, and the introduction by the translator provides essential contextualization.
This is a study of the 19th-century French poet, Tristan Corbière. Using close textual readings from Les Amours jaunes, the only collection published in Corbière's lifetime, it examines his self-contradictory style. Corbière's use of irony is shown to be a means of exploring the doubts of modern man and the spiritual void of commodity culture.
Provides the most complete listing available of books, articles, and book reviews concerned with French literature since 1885. The bibliography is divided into three major divisions: general studies, author subjects (arranged alphabetically), and cinema. This book is for the study of French literature and culture.
Derek Mahon is one of the leading poets of his time, both in Ireland and beyond, famously offering a perspective that is displaced from as much as grounded in his native country. From prodigious beginnings to prolific maturity, he has been, through thick and thin, through troubled times and other, a writer profoundly committed to the art of poetry and the craft of making verse. He has also been no-less a committed reviser of his work, believing the poem to be more than a record in verse, but a work of art never finished. This virtuoso study by Hugh Haughton provides the most comprehensive account imaginable of Mahon's oeuvre. Haughton's brilliant writing always serves and illuminates the poetry, yielding extraordinary insights on almost every page. The poetry, its revisions and reception, are the subject here, but so thorough is the approach that what is offered also amounts indirectly to an intellectual biography of the poet and with it an account of Northern Irish poetry vital to our understanding of the times.
Excerpts from criticism of the works of novelists, poets, playwrights, short story writers and other creative writers who lived between 1800 and 1900, from the first published critical appraisals to current evaluations.
Despite meter's recasting as a rigid metronome, diverse modern poet-critics refused the formal ideologies of free verse through complex engagements with traditional versification. In the twentieth century, meter became an object of disdain, reimagined as an automated metronome to be transcended by new rhythmic practices of free verse. Yet meter remained in the archives, poems, letters, and pedagogy of modern poets and critics. In Modernism's Metronome, Ben Glaser revisits early twentieth-century poetics to uncover a wide range of metrical practice and theory, upending our inherited story about the "breaking" of meter and rise of free verse.
Late in his life T. S. Eliot, when asked if his poetry belonged in the tradition of American literature, replied: “I’d say that my poetry has obviously more in common with my distinguished contemporaries in America than with anything written in my generation in England. That I’m sure of. . . . In its sources, in its emotional springs, it comes from America.” In T. S. Eliot: The Making of an American Poet, James Miller offers the first sustained account of Eliot’s early years, showing that the emotional springs of his poetry did indeed come from America. Miller challenges long-held assumptions about Eliot’s poetry and his life. Eliot himself always maintained that his poems were not based on personal experience, and thus should not be read as personal poems. But Miller convincingly combines a reading of the early work with careful analysis of surviving early correspondence, accounts from Eliot’s friends and acquaintances, and new scholarship that delves into Eliot’s Harvard years. Ultimately, Miller demonstrates that Eliot’s poetry is filled with reflections of his personal experiences: his relationships with family, friends, and wives; his sexuality; his intellectual and social development; his influences. Publication of T. S. Eliot: The Making of an American Poet marks a milestone in Eliot scholarship. At last we have a balanced portrait of the poet and the man, one that takes seriously his American roots. In the process, we gain a fuller appreciation for some of the best-loved poetry of the twentieth century.