By Nigel Alderman, C. D. Blanton
This quantity introduces scholars to crucial figures, hobbies and traits in post-war British and Irish poetry.
- An old assessment and significant creation to the poetry released in Britain and eire during the last half-century
- Introduces scholars to figures together with Philip Larkin, Ted Hughes, Seamus Heaney, and Andrew Motion
- Takes an integrative technique, emphasizing the complicated negotiations among the British and Irish poetic traditions, and pulling jointly competing developments and positions
- Written through critics from Britain, eire, and the United States
- Includes feedback for additional analyzing and a chronology, detailing crucial writers, volumes and events
Read or Download A Concise Companion to Postwar British and Irish Poetry PDF
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Additional info for A Concise Companion to Postwar British and Irish Poetry
Eliot 1996: 84–5) Where scriptural references and religious diction mingle with the rhythm of a barracks-room ballad, the odd tonality serves at once to replicate and characterize the moral rationales for the war, that doggerel logic, which Spender’s paper and its partisan likes have tirelessly offered. qxd 09/02/2009 16:46 Page 26 Vincent Sherry mock-sententiousness and pseudo-reasonableness that the later, more polished quatrains will smooth out. The conceit of Eliot’s quatrain art finds its signature piece in “Sweeney among the Nightingales,” the poem whose dramatic location lies in a seedy London bistro of the war years.
Eliot 1996: 86) 1 Eliot’s antipathy to the premises and methods of modern Liberalism, the majority power in literary and political London in 1914, may be thought of as one source of his shutting down poetically when he arrives in Britain in August 1914. 13). qxd 09/02/2009 16:46 Page 24 Vincent Sherry Eliot encloses echoes of whole words within others – “gout” in “dégoute,” “d’égout,” – and reiterates similar phonetic formations across differing phrases – “fait des vers” in “faits divers” – to emphasize and consolidate the material sound of these words.
The logic that impels the cultural re-emergence of the smaller nations of the United Kingdom (including England itself) follows almost inexorably from the more systematic decolonization of the former British Empire. Jahan Ramazani’s “Poetry and Decolonization” continues the emphasis on naming and renaming, exploring the ways in which postcolonial poetries reoccupy the space of the sublime to unleash an enormous catalog of names, languages, traditions, and temporalities previously occluded and suppressed by imperial control.