By Richard Gray
A heritage of yank Poetry offers a accomplished exploration of the advance of yankee poetic traditions from their pre-Columbian origins to the current day.
- deals an in depth and available account of the complete variety of yank poetry
- Situates the tale of yank poetry inside of an important social and historic contexts, and locations person poets and poems within the suitable intertextual contexts
- Explores and translates American poetry when it comes to the overseas positioning and multicultural personality of the United States
- offers readers with a way to appreciate the person works and personalities that helped to form essentially the most major our bodies of literature of the prior few centuries
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Additional resources for A History of American Poetry
Beginning again and again is a natural thing even when there is a series,” Stein explained. ”65 The poet’s eye establishes a democracy of objects; and the poetic syntax arranges a democracy of words and statements, linked only by a minimal “and,” perhaps, a dash, a semi-colon, or a series of dots. To do more than that, to absorb things into a complex intellectual or grammatical structure, would – the suggestion is – be an act of blindness and betrayal; it would be to interject the meddlings of the mind between the eye and the pressure of reality.
What strife! What rude alarms! What shocks! What half-shaped armies met! A mighty nation moving west, With all its steely sinews set Against the living forests33 The American Poem 15 Lines like these show how the Enlightenment doctrine of Progress could fit neatly with the ideology of the westward movement; the two seem to draw force and energy from each other, as each thrusts into the light a vision of total possibility, an open road, a boundless future. Just as definitive, as far as this vision is concerned, is another movement that has contributed to the way many Americans think and write – and, sometimes, act: Romanticism.
66 All these, and many other American poets, have been in creative dialogue with Poe. Which is not to deny that they have also been in dialogue with others: Tate with Eliot, for instance, Stevens with Keats and the Symbolistes, Ashbery with Stevens, Plath with Emily Dickinson and Lowell, Crane with Whitman and Melville. The dialogues are multiple, part of the intricate web, the network of interchange, that constitutes American poetry. As the mere mention of Keats and the French Symbolistes suggests, those dialogues also stretch beyond the inevitably porous boundaries of American aesthetics and culture: Baudelaire, after all, was haunted by the ghostly presence of Poe, seeing him both as a poetic twin and a god.
A History of American Poetry by Richard Gray