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The Cambridge Companion to Modern American Poetry offers a critical overview of major and emerging American poets of the twentieth century.
The Oxford Handbook of Modern and Contemporary American Poetry gives readers a cutting-edge introduction to the kaleidoscopic world of American poetry over the last century. Offering a comprehensive approach to the debates that have defined the study of American verse, the twenty-five original essays contained herein take up a wide array of topics: the influence of jazz on the Beats and beyond; European and surrealist influences on style; poetics of the disenfranchised; religion and the national epic; antiwar and dissent poetry; the AIDS epidemic; digital innovations; transnationalism; hip hop; and more. Alongside these topics, major interpretive perspectives such as Marxist, psychoanalytic, disability, queer, and ecocritcal are incorporated. Throughout, the names that have shaped American poetry in the period--Ezra Pound, Wallace Stevens, Marianne Moore, Mina Loy, Sterling Brown, Hart Crane, William Carlos Williams, Posey, Langston Hughes, Allen Ginsberg, John Ashbery, Rae Armantrout, Larry Eigner, and others--serve as touchstones along the tour of the poetic landscape.
The Cambridge Companion to Modern American Poetry comprises original essays by eighteen distinguished scholars. It offers a critical overview of major and emerging American poets of the twentieth century, in addition to critical accounts of the representative schools, movements, regional settings, archival resources, and critical reception that define modern American poetry. The Companion stretches the narrow term of 'literary modernism' - which encompasses works published from approximately 1890 to 1945 - to include a more capacious and usable account of American poetry's evolution from the twentieth century to the present. The essays collected here seek to account for modern American verse against the contexts of broad political, social, and cultural fields and forces. This volume gathers together major voices that represent the best in contemporary critical approaches and methods.
Features a collection of poetry from some of America's best poets and provides original commentaries and suggested exercises to help the reader explore the meaning behind these poets' works.
Why have so many contemporary poets turned to source material, from newspapers to governmental records, as inspiration for their poetry? How can citational poems offer a means of social engagement? Contested Records analyzes how some of the most well-known twenty-first century North American poets work with fraught documents. Whether it’s the legal paperwork detailing the murder of 132 African captives, state transcriptions of the last words of death row inmates, or testimony from miners and rescue workers about a fatal mine disaster, author Michael Leong reveals that much of the power of contemporary poetry rests in its potential to select, adapt, evaluate, and extend public documentation. Examining the use of documents in the works of Kenneth Goldsmith, Vanessa Place, Amiri Baraka, Claudia Rankine, M. NourbeSe Philip, and others, Leong reveals how official records can evoke a wide range of emotions—from hatred to veneration, from indifference to empathy, from desire to disgust. He looks at techniques such as collage, plagiarism, re-reporting, and textual outsourcing, and evaluates some of the most loved—and reviled—contemporary North American poems. Ultimately, Leong finds that if bureaucracy and documentation have the power to police and traumatize through the exercise of state power, then so, too, can document-based poetry function as an unofficial, counterhegemonic, and popular practice that authenticates marginalized experiences at the fringes of our cultural memory.
This Companion brings together essays on some fifty-four American poets, from Anne Bradstreet to contemporary performance poetry. This book also examines such movements in American poetry as modernism, the Harlem (or New Negro) Renaissance, "confessional" poetry, the Black Mountain School, the New York School, the Beats, and L=A=N=G=U=A=G=E poetry.
A rich and provocative overview of Jewish American poetry.
In this volume Elizabeth Gregory addresses a number of key issues surrounding the formation of the American poetic canon. Taking as her primary examples T. S. Eliot's Waste Land, William Carlos Williams' Paterson, and selected poems by Marianne Moore, she examines the ways in which modern American writers struggled with questions of literary authority and cultural identity in relation to pre-existing European models. Gregory focuses on these issues through analysis of the use of quotation in modern and postmodern literature, a practice that was strikingly divergent from the accepted use of literary allusion. Her introduction traces a history of quotation as it has been practiced in literature from classical to modern times. She then focuses on the texts of Eliot, Williams, and Moore--three central figures of American modernism whose work the author believes represents a spectrum of responses to the established European model of poetical discourse. Gregory's selection of Moore also allows her to deal with feminist concerns as they emerge in the more general modernist dialogue. How was a female writer to make use of a literary canon that traditionally excluded female participation? "The implications of Gregory's argument . . . will surely be of especial interest to feminist scholars of American poetry."--Lois Parkinson Zamora, University of Houston.