American Poetry After Modernism: The Power of the Word by Albert Gelpi

By Albert Gelpi

Albert Gelpi's American Poetry after Modernism is a learn of fourteen significant American poets of the postwar interval, from Robert Lowell to Adrienne wealthy. Gelpi argues relatively American poetic culture was once solidified within the later half the 20th century, therefore severing it from British conventions. In Gelpi's view, what distinguishes the yankee poetic culture from the British is that on the middle of the yank pastime is a main wondering of functionality and medium. the executive paradox in American poetry is the shortcoming of a convention that calls for answering and redefining - redefining what it ability to be a poet and, likewise, how the phrases of a poem create which means, provide perception into fact, and solution the final word questions of dwelling. via chapters dedicated to particular poets, Gelpi explores this paradox by means of delivering an unique and insightful analyzing of overdue twentieth-century American poetry.

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Snodgrass, Sylvia Plath, and Anne Sexton. As the title suggests, the sequence is not a sustained autobiographical narrative, but a loosely chronological series of vignettes, moving from sketches of his conflicted relations with his parents to a grim, unsparing confrontation with his vulnerable and volatile psychiatric state. Lowell addresses these painful personal materials with a candid directness and an ironic lack of self-pity that make the poems all the more moving and persuasive.  . ”22 He would later recall: “When I was in Iowa – ’50 or later in ’52 [–] I read 2/3 of Freud, like reading Tolstoy.

They met in the year when Lowell was writing “Colloquy in Black Rock” and “The Quaker Graveyard in Nantucket” and other poems that would appear in Lord Weary’s Castle, win a Pulitzer Prize, establish Lowell’s prophetic voice and style, and catapult him in his early twenties to the forefront of contemporary poets. When Berryman’s early poetry appeared in The Dispossesed in 1948, it won the Shelley Memorial Award from the Poetry Society of America but created no great stir; indeed, as Berryman himself knew, those poems showed a poet with potential but still in search of a voice and style and stance.

The poems probe wounds, old and recent, but with tender care. They are at once a gathering in, a rounding up, and a signing out: elegiac valedictions to and about his wives, children, parents, friends, summoned again, this time to say goodbye. ” For example, these lines (p.  . 38 American Poetry after Modernism It’s not death I fear, but unspecified, unlimited pain.  797) from “Grass Fires”: I – really I can do little, as little now as then, about the infernal fires – I cannot blow out a match.

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