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This comprehensive chronological anthology includes 58 essays on poetry by 53 poets. Starting with James Weldon Johnson and Robert Frost, the book offers diverse and often conflicting accounts of the nature and function of poetry. The collection includes rarely anthologized essays by Jack Spicer, Rhina Espaillat, Anne Stevenson, and Ron Silliman, as well as work by some of the finest younger critics in America, including William Logan, Alice Fulton, and Christian Wiman.
Black Nature is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated. Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry--anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild. Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements. Black Nature brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole. A Friends Fund Publication.
Although many books deal individually with each of the major writers treated in Poets of Reality, none attempts through analyses of these particular men and their works, to identify the new directions taken by twentieth-century literature. J. Hillis Miller, challenging the assumption that modern poetry is merely the extension of an earlier romanticism, presents critical studies of the six central figuresâe"Joseph Conrad, W. B. Yeats, T. S. Eliot, Dylan Thomas, Wallace Stevens, and William Carlos Williamsâe"who played key roles in evolving a poetry in which âeoereality comes to be present to the senses, and present in the words of the poem which ratify this possession.âe A new kind of poetry has appeared in the twentieth century, the author claims, a poetry which, growing out of romanticism and symbolism, goes far beyond it. The old generalizations about the nature and use of poetry are no longer applicable, and it is the gradual emergence of new forms, culminating in the work of Williams, that Miller traces and defines.
This award-winning multi-volume series is dedicated to making literature and its creators better understood and more accessible to students and interested readers, while satisfying the standards of librarians, teachers and scholars. Dictionary of Literary Biography provides reliable information in an easily comprehensible format, while placing writers in the larger perspective of literary history. Dictionary of Literary Biography systematically presents career biographies and criticism of writers from all eras and all genres through volumes dedicated to specific types of literature and time periods. For a listing of Dictionary of Literary Biography volumes sorted by genre click here. 01
The Cambridge Introduction to Twentieth-Century American Poetry is designed to give readers a brief but thorough introduction to the various movements, schools, and groups of American poets in the twentieth century. It will help readers to understand and analyze modern and contemporary poems. The first part of the book deals with the transition from the nineteenth-century lyric to the modernist poem, focussing on the work of major modernists such as Robert Frost, T. S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, and W. C. Williams. In the second half of the book, the focus is on groups such as the poets of the Harlem Renaissance, the New Critics, the Confessionals, and the Beats. In each chapter, discussions of the most important poems are placed in the larger context of literary, cultural, and social history.
An anthology of twentieth-century American poetry, featuring Wallace Stevens, T.S. Eliot, Elizabeth Bishop, Robert Hayden, Gwendolyn Brooks, Derek Walcott, Adrienne Rich, John Ashbery, Anne Sexton, and many others.
An illuminating look at the poetic debut in twentieth-century American literary culture "We have many poets of the First Book," the poet and critic Louis Simpson remarked in 1957, describing a sense that the debut poetry collection not only launched the contemporary poetic career but also had come to define it. Surveying American poetry over the past hundred years, The First Book explores the emergence of the poetic debut as a unique literary production with its own tradition, conventions, and dynamic role in the literary market. Through new readings of poets ranging from Wallace Stevens and Marianne Moore to John Ashbery and Louise Glück, Jesse Zuba illuminates the importance of the first book in twentieth-century American literary culture, which involved complex struggles for legitimacy on the part of poets, critics, and publishers alike. Zuba investigates poets' diverse responses to the question of how to launch a career in an increasingly professionalized literary scene that threatened the authenticity of the poetic calling. He shows how modernist debuts evoke markedly idiosyncratic paths, while postwar first books evoke trajectories that balance professional imperatives with traditional literary ideals. Debut titles ranging from Simpson's The Arrivistes to Ken Chen's Juvenilia stress the strikingly pervasive theme of beginning, accommodating a new demand for career development even as it distances the poets from that demand. Combining literary analysis with cultural history, The First Book will interest scholars and students of twentieth-century literature as well as readers and writers of poetry.
Essays introduce and critique the works of eight modern and upcoming Native American poets, and study how Native Americans have been influenced and have in turn influenced British and American literature.
In the first book devoted exclusively to the ecopoetics of the twenty-first century, Lynn Keller examines poetry of what she terms the "self-conscious Anthropocene," a period in which there is widespread awareness of the scale and severity of human effects on the planet. Recomposing Ecopoetics analyzes work written since the year 2000 by thirteen North American poets--including Evelyn Reilly, Juliana Spahr, Ed Roberson, and Jena Osman--all of whom push the bounds of literary convention as they seek forms and language adequate to complex environmental problems. Drawing as often on linguistic experimentalism as on traditional literary resources, these poets respond to environments transformed by people and take "nature" to be a far more inclusive and culturally imbricated category than conventional nature poetry does. This interdisciplinary study not only brings cutting-edge work in ecocriticism to bear on a diverse archive of contemporary environmental poetry; it also offers the environmental humanities new ways to understand the cultural and affective dimensions of the Anthropocene.
A literary history of the Great Acceleration, Remainders examines an archive of postwar American poetry that reflects on new dimensions of ecological crisis. These poems portray various forms of remainders—from obsolescent goods and waste products to atmospheric pollution and melting glaciers—that convey the ecological consequences of global economic development. While North American ecocriticism has tended to focus on narrative forms in its investigations of environmental consciousness and ethics, Margaret Ronda highlights the ways that poetry explores other dimensions of ecological relationships. The poems she considers engage in more ambivalent ways with the problem of human agency and the limits of individual perception, and they are attuned to the melancholic and damaging aspects of environmental existence in a time of generalized crisis. Her method, which emphasizes the material histories and uneven effects of capitalist development, models a unique critical approach to understanding the causes and conditions of ongoing biospheric catastrophe.