By Harold Bloom
The increase of modernism marked one of many significant transitional sessions 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 growing to be 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 research those poets and their works, with a chronology, bibliography, index, and an introductory essay via grasp pupil Harold Bloom finishing the name.
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Additional resources for American Modernist Poets (Bloom's Modern Critical Views)
She is so meticulous and so original that she tends to be both underread and rather weakly misread. Most frequently she is praised for her “eye,” as though she were a master of optics. But her actual achievement is to see what cannot quite be seen and to say what cannot quite be said. The influence of Wallace Stevens on her work rendered Bishop rather uneasy, and she would like to have been considered a disciple of Marianne Moore, her friend and mentor. But poets are chosen by their precursors: They 40 Harold Bloom do not choose.
Pound was half right about Whitman; Whitman does teach us his country in his century, but his form and his content are not so split as Pound says, and his fundamental meaning resides in nuance, beautifully shaped in figurative language. Pound’s faults are not superficial, and absolutely nothing about our country in this century can be learned from him. He conveys an image only of himself, and the only way to enjoy him is not to seek a fundamental meaning that is not there but to take his drafts and fragments one by one, shattered crystals, but crystalline nevertheless.
I read it, on evidence internal and external, as being essentially a revision of Whitman’s final great achievement, “When Lilacs Last in the Dooryard Bloom’d,” ostensibly an elegy for Lincoln but more truly the poet’s lament for his own poethood. Elegy rather than brief epic or quest-romance, The Waste Land thus enters the domain of mourning and melancholia, rather than that of civilization and its discontents. Many of the links between Eliot’s and Whitman’s elegies for the poetic self have been noted by a series of exegetes starting with S.
American Modernist Poets (Bloom's Modern Critical Views) by Harold Bloom