By Harold Bloom
The increase of modernism marked one of many significant transitional classes in modern literature. the yankee modernist poets created a wealthy legacy of their verse explorations of a global touched through conflict, quick industrialization, and the transforming into perceived alienation of the person. The innovators featured during this quantity contain Ezra Pound, e.e. cummings, Edna St. Vincent Millay, and Carl Sandburg and their abiding impacts. serious essays learn those poets and their works, with a chronology, bibliography, index, and an introductory essay by way of grasp student Harold Bloom finishing the name.
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Extra resources for American Modernist Poets (Bloom's Modern Critical Views)
Elsewhere, Artaud had written, “The library at Alexandria can be burnt down. There are forces above and beyond papyrus: we may temporarily be deprived of our ability to discover these forces, but their energy will not be suppressed. . ”5 Striking as these passages are for their parallels with Williams’ thought (Artaud’s ideal of “contact,” for example, must have been particularly intriguing for Williams), the importance of Artaud’s influence on Paterson is easy to overstate, given the fact that the above passages were published in 1938 and that Williams had had much earlier contact with these same Dadaist principles through 291, 391, The Little Review, transition, and other magazines.
The past is mocked and then cremated, thus clearing space for the myriad new examples of beauty: 46 Peter Schmidt Papers (consumed) scattered to the winds. Black. The ink burned white, metal white. So be it. Hell’s fire. Fire. Sit your horny ass down. What’s your game? Beat you at your own game, Fire. Outlast you: Poet Beats Fire at Its Own Game! The bottle! the bottle! the bottle! the bottle! I give you the bottle! (P, 113–18) The birth of spring in Spring and All (1923) was similarly preceded by a drunken, violent upheaval: “The imagination, intoxicated by prohibitions, rises to drunken heights to destroy the world.
William Carlos Williams pic poems are like the cities of Rome and New York: all roads lead to them. Similarly, for a reader of Williams’ work, all roads lead to Paterson, or away from it. It is impossible not to treat Williams’ earlier work in prose and in poetry, despite its diversity, as a prelude to the epic poem that occupied so much of Williams’ energy in the 1940s and 1950s. The reader cannot help but see the earlier work as a trying out of various ways of writing that would be rolled up into a sum in Paterson.
American Modernist Poets (Bloom's Modern Critical Views) by Harold Bloom