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Peter Barry explores a range of poets who visit and celebrate the "mean streets" of the contemporary urban scene. Poets discussed include Ken Smith, Iain Sinclair, Roy Fisher, Edwin Morgan, Sean O'Brien, Ciaran Carson, Peter Reading, Matt Simpson, Douglas Houston, Deryn Rees-Jones, Denise Riley, Ken Edwards, Levi Tafari, Aidan Hun, and Robert Hampson writing on Hull, Liverpool, London, Birmingham, Belfast, Glasgow, and Dundee.
Devoted to close readings of poets and their contexts from various postmodern perspectives, this book offers a wide-ranging look at the work of feminists and "post feminist" poets, working class poets, and poets of diverse cultural backgrounds, as well as provocative re-readings of such well-established and influential figures as Donald Davie, Ted Hughes, Geoffrey Hill, and Craig Raine. Contributors include many respected theorists and critics, such as Antony Easthope, C.L. Innes, John Matthias, Edward Larrissy, Linda Anderson, Eric Homberger, Alastair Niven, R.K. Meiners, and Cairns Craig, in addition to new writers working from new theoretical perspectives. Their approaches range from cultural theory to poststructuralism; each essayist addresses a general audience while engaging in debates of interest to postgraduates and specialists in the fields of twentieth-century poetry and cultural studies. The book's strength lies in its diversity at every level.
This Handbook offers an authoritative and up-to-date collection of original essays bringing together ground breaking research into the development of contemporary poetry in Britain and Ireland.
A comprehensive and scholarly review of contemporary British and Irish Poetry With contributions from noted scholars in the field, A Companion to Contemporary British and Irish Poetry, 1960-2015 offers a collection of writings from a diverse group of experts. They explore the richness of individual poets, genres, forms, techniques, traditions, concerns, and institutions that comprise these two distinct but interrelated national poetries. Part of the acclaimed Blackwell Companion to Literature and Culture series, this book contains a comprehensive survey of the most important contemporary Irish and British poetry. The contributors provide new perspectives and positions on the topic. This important book: Explores the institutions, histories, and receptions of contemporary Irish and British poetry Contains contributions from leading scholars of British and Irish poetry Includes an analysis of the most prominent Irish and British poets Puts contemporary Irish and British poetry in context Written for students and academics of contemporary poetry, A Companion to Contemporary British and Irish Poetry, 1960-2015 offers a comprehensive review of contemporary poetry from a wide range of diverse contributors.
A comprehensive and scholarly review of contemporary British and Irish Poetry With contributions from noted scholars in the field, A Companion to Contemporary British and Irish Poetry, 1960-2015 offers a collection of writings from a diverse group of experts. They explore the richness of individual poets, genres, forms, techniques, traditions, concerns, and institutions that comprise these two distinct but interrelated national poetries. Part of the acclaimed Blackwell Companion to Literature and Culture series, this book contains a comprehensive survey of the most important contemporary Irish and British poetry. The contributors provide new perspectives and positions on the topic. This important book: Explores the institutions, histories, and receptions of contemporary Irish and British poetry Contains contributions from leading scholars of British and Irish poetry Includes an analysis of the most prominent Irish and British poets Puts contemporary Irish and British poetry in context Written for students and academics of contemporary poetry, A Companion to Contemporary British and Irish Poetry, 1960-2015 offers a comprehensive review of contemporary poetry from a wide range of diverse contributors.
This book discusses contemporary British poetry in the context of metamodernism. The author argues that the concept of metamodernist poetry helps to recalibrate the opposition between mainstream and innovative poetry, and he investigates whether a new generation of British poets can be accurately defined as metamodernist. Antony Rowland analyses the ways in which contemporary British poets such as Geoffrey Hill, J. H. Prynne, Geraldine Monk and Sandeep Parmar have responded to the work of modernist writers as diverse as T. S. Eliot, H. D. and Antonin Artaud, and what Theodor Adorno describes as the overall enigma of modern art.
This Companion brings together sixteen essays that explore the full diversity of British poetry since the Second World War. Focusing on famous and neglected names alike, from Dylan Thomas to John Agard, leading scholars provide readers with insight into the ongoing importance and profundity of post-war poetry.
Drawing on the recent focus on spatial imagination in the humanities and social sciences, Poetry and Geography looks at the significance of space, place, and landscape in the works of British and Irish poets, offering interpretations of poems by Roy Fisher, R. S. Thomas, John Burnside, Thomas Kinsella, Jo Shapcott, and many others. Its fourteen essays collectively sketch a series of intersections between language and location, form and environment, and sound and space, exploring poetry's unique capacity to invigorate and expand our spatial vocabularies and the many relationships we have with the world around us.
Examining a wide range of ekphrastic poems, David Kennedy argues that contemporary British poets writing out of both mainstream and avant-garde traditions challenge established critical models of ekphrasis with work that is more complex than representational or counter-representational responses to paintings in museums and galleries. Even when the poem appears to be straightforwardly representational, it is often selectively so, producing a 'virtual' work that doesn't exist in actuality. Poets such as Kelvin Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests, relish the ekphrastic encounter as one in which word and image become mutually destabilizing. Similarly, other poets engage with the source artwork as a performance that participates in the ethical realm. Showing that the ethical turn in ekphrastic poetry is often powerfully gendered, Kennedy also surveys a range of ekphrastic poets from the Renaissance and nineteenth century to trace a tradition of female ekphrastic poetry that includes Pauline Stainer and Frances Presley. Kennedy concludes with a critique of ekphrastic exercises in creative writing teaching, proposing that ekphrastic writing that takes greater account of performance spectatorship may offer more fruitful models for the classroom than the narrativizing of images.